Doracor Official Website | Onirika - Page 3

Doracor Official Website

New Italian Progressive Rock

Prolusion. This Italian progressive rock outfit, DORACOR, celebrate their tenth anniversary this year, so some folks already regard them as veterans of the movement. "Onirica" is their fifth studio album, following "Evanescenze" (2005), "Tranzione" (2002), "Antiche Impressioni" (1999) and "Segni Premonitori" (1998). Doracor's lineup was never stable, the founder of the band, Corrado Sardella, being its only permanent member. As it also turned out from the outset, it's still Sardella who is responsible for the entire material on this recording too, both as a composer and a lyricist.

Analysis. Two of the five tracks on this 45-minute recording are instrumental pieces, and one of those is certainly that tiny cut right in the middle of the album that proffers itself as a bridge between the longer pieces. Though titled as Eden-II, it has nothing to do with, well, what otherwise would've been its fellow composition. Despite its brevity, this is a complete piece of music, a refined acoustic guitar passage performed through a delay unit. As to the other compositions, with an average track length approaching eleven minutes all certainly represent quite expanded musical canvases, but don't expect them to be stuffed with progressive features. Besides, the remark "Doracor have no problems with originality", which has been previously applicable to their work, has now lost a major part of its relevance. This album has sonic signposts at once as varied and kindred as Marillion, Citizen Cain and Ezra Winston, but also (perhaps just logically) more than its fill of the characteristic keyboard riffs-driven arrangements pioneered by Genesis while developing their then newly discovered style soon to be labeled as Neo Prog, i.e. from 1978 to 1981. The only time the first track, Eden, will make really happy the listener with a taste in intricate symphonic Art-Rock is in its finale or, to be more precise, during its last two minutes. Otherwise the music is unmistakably Marillion, a cross between That Time of the Night from "Clutching at Straws" and Lady Nina from "B-Sides Themselves". Not surprisingly, lead singer Milton Damia sounds a lot like Derek "Fish" Dick, while Gianna Chilla echoes back Tessa Niles. On the title number Milton sings on his own, quite often imitating Phil Collins, which is no surprise either, since he is forced to adapt his vocals to the music as such, much of which in turn suggests a collage of Genesis's songs, Snowbound, Turn It On Again and Abacab. On the plus side, within the piece's instrumental sections the sound is mostly both original and resourceful, some of the movements bringing to mind the best of quasi Jazz-Fusion, kudos to both Sardella and Vincenzo Antonicelli, the guest saxophone player who also appears on Dimensione-4. Despite the absence of vocals there, Dimensione-4 can be described almost the same way as Onirica, the only reservation concerning its second half, during which the piece develops much in the style of Duke's Travel and Duke's End, the last two tracks on "Duke", with which that album (at long last) reaches its progressive culmination. While only featuring the female singer behind the microphone, the remaining track, Il Gardino di Pietra, finds the band unexpectedly digressing into symphonic Hard Rock. Soon after the song's halfway point however, things sort themselves out, with Duke starting on his regular journey:-).

Conclusion.There are some moments on the disc that will please even the most demanding fans of classic Symphonic Progressive, but most of the music, while being melodically fulfilling and varied emotionally, isn't notable for any particular depths. So if you're mostly into Neo Prog, don't hesitate to check this CD out. If not, you shouldn't have any problems if I'll leave you to draw your own conclusion.

V.M.


Nouvel opus pour le prolifique DORACOR: le 6ème! Les albums se suivent et ne se ressemblent pas, puisque cette fois, le multi-instrumentiste est accompagné d’un vrai groupe, et sonne comme un vrai groupe : la musique est ainsi plus consistante, plus charpentée, mieux produite aussi, et s’apparente à un progressif italien sous perfusion Génesissienne. Jolis chants en italien, claviers à la Tony Banks (piano délicat, sons 70’s), bonne basse, on retrouve ici du CONQUEROR et du RANDONE pour rester dans les comparaison transalpine. Un bel album italien en définitive.


  • Doracor at Wikipedia
  • Red Canzian Official Website
  • Ian Mosley at Marillion.com
    • Doracor

    Discography

    Passioni postmoderne di un musicista errante (2016) - AMS 274

    La vita che cade (2011) - MMP 522

    Lady Roma (2008) - MMP 504

    Onirika (2007) - MMP 495

    Evanescenze (2005) - MMP 483

    Transizione (2001) - MMP 408

    Antiche impressioni (1999) - MMP 368

    Segni premonitori (1998) - MMP 348

    The long pathway (1997) - MMP 332

    Wanderlust (1995/1996 - unrel. demo)

     


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    Corrado Sardella
    Keyboards, Synthesizers

    Red Canzian
    Fretless Bass

    Kostas Milonas

    Drums

    Roberto Tiranti
    Vocals

    Alessandro Corvaglia
    Vocals

    Riccardo Mastantuono
    Guitars

    Maurizio Testani
    Bass

    Patrizio Destriere
    Sax

    Milton Damia
    Vocals, Guitars

    Jacky Man
    Bass

    Mike Wilbury
    Guitars

    Nicola Di GiĆ 
    Guitars

    Mimmo Picco
    Guitars

    Andrea Pavoni
    Keyboards

    Mario Barletta
    Trumpet

    Ian Beabout
    Transverse Flute