Doracor Official Website | Press - Page 4

Doracor Official Website

New Italian Progressive Rock

イタリア屈指のスケールを放つシンフォニック・ロック・バンドへ熟した彼らの2011年作。炸裂するエモーショナルなシンセとギターソロをこれでもかとフィーチャーし、幽幻なメロトロンやクラシカルなピアノを絡め、ジェネシス系をベースにしながらもイタリアの眩しい光りに宵の翳りが織り成す壮大なコンセプト・アルバムを完成させた。ドラマチックな演奏にはテクニカルさが増し、プーやボッテガにも影響されたという伊語の甘い歌メロの美しさも特筆で、漂うロマンチックさは群を抜き、グレゴリアン・チャントやパイプ・オルガンも登場。前作に続き、シンフォ・ファン必聴! デジパック。 ITALY


Prolusion. DORACOR (anagram of Corrado) is the pseudonym of Italian composer and multi-instrumentalist Corrado Sardella, who has been active on the Italian progressive rock scene since 1997. “Lady Roma” is his seventh studio album, recorded with some of his longtime collaborators, and released on Mellow Records like all his previous efforts. This is the first time Doracor has employed real drummers instead of programmed drums, namely Davide Guidoni, also known as a prolific, award-winning graphic artist, and experienced sessionman Vittorio Riva. Marillion’s Ian Mosley appears on one track

Analysis. In his over twelve years of activity as a progressive rock musician, Corrado Sardella seems to have learned a very important lesson: one-man bands, no matter how gifted a musician one can be, will hardly ever be able to replace a real band in terms of delivering the goods. After his somewhat tentative first recording efforts of the late Nineties, Sardella started employing an increasing number of guest musicians, some of whom have become steady presences on his albums over the years – a winning move reflected by the steadily growing level of his releases. Here, finally dispensing with electronic drums (in so many cases the kiss of death for an album) has given the album a richer, more organic sound – we finally get the impression of a real band, not just a collection of hired hands to provide a backing for the main man. The album is meant as a tribute to the Eternal City of Rome (my home town, as well as Sardella’s), represented in the title and on the cover as a beautiful woman. In spite of that, my personal impression is that it does not sound as distinctively Italian as other recent releases from Italian bands. Rather than the legendary Italian prog outfits of the Seventies, the main sources of inspiration here seem to be bands like Camel, Genesis and Marillion. While a certain Mediterranean lushness can be occasionally perceived, on the whole there are very few elements that anchor the album to the Italian musical tradition: the Italian-language lyrics, as well as the occasional use of the mandolin, courtesy of long-standing Doracor collaborator Riccardo Mastantuono. Corrado Sardella is first and foremost a keyboardist; therefore it will not come as a surprise that the album is quite strongly keyboard-oriented. However, all the instruments involved in the recording of the album work together smoothly and seamlessly, as reflected in the open, airy nature of the music. Melody is the name of the game – nothing here sounds strident or overly cerebral, and the tracks blend into each other with a pleasing, natural flow, at times uplifting, at others somehow tinged with sadness for things that have gone forever. This wistful, melancholy quality is complemented by the autumnal beauty of the pictures in the booklet. One in particular deserves a mention – a breathtakingly beautiful, lavender-hued shot of St Peter’s Basilica taken at the twilight hour from the best possible vantage point, the majestic Ponte Sant’Angelo on the Tiber. The album opens with the title-track, a mini-suite in four movements introduced by a rather unusual passage recited by the soothingly deep voice of Daniele Si Nasce, mainly known for his activity as a one-man tribute to Roman-born singer-songwriter and showman Renato Zero. The lyrics, written in the Roman vernacular, are a paean to that ‘vanished Rome’ which has been the subject of many paintings, and as such sharply reminiscent of another famous song dedicated to the Eternal City, Antonello Venditti’s ‘Roma Capoccia’; Mastantuono’s lilting mandolin, underpinned by tinkling ivories, lends a folksy quality to the tune. The rest of the suite is more along Genesis-influenced, classic symphonic prog lines, with clean-sounding guitar and broad keyboard sweeps, and excellent vocals by Milton Damia – who gets another chance to show his considerable chops in the following song, the atmospheric, sax-infused, blues-tinged ballad Vento Dell’Est, which reminded me of songs in a similar vein by bands like Colosseum-II. The instrumental Roma Dei Misteri, somewhat dark in tone as the title suggests, opens with faint mandolin strains, then turns into a pulsing synth riff lifted out of Rush’s ‘Subdivisions’, while the short Imperium, featuring Ian Mosley on drums, is a heavier, synth- and guitar-driven piece with a solemn, church-like introduction. On the other hand, the neo-prog influence shines through in the romantic, keyboard-led mid-tempos Testimone la Luna and Questo Folle Girotondo. As a whole, “Lady Roma” is a classy package, further enhanced by Milton Damia’s stunning vocal performance. He is definitely a singer that deserves much more exposure, combining as he does the best of the Italian and English singing traditions. It is to be hoped that Corrado Sardella will try his best to keep this group of top-notch musicians together for his next recording efforts.

Conclusion. Fans of classic symphonic prog, as well as neo-prog, will not fail to appreciate such a well-rounded, well-crafted effort as “Lady Roma”. Even though the album does not offer any really ground-breaking ideas, it is nonetheless a very enjoyable listen, executed in flawless fashion by some very accomplished musicians – a more than fitting tribute to the City by definition.

Raffaella Berry


Tanto tuonò che piovve! E pure in abbondanza! La critica principale che è sempre stata fatta alla musica di Corrado Sardella, alias Doracor, è quella riguardante il costante utilizzo della batteria elettronica. Al settimo album, il tastierista romano si è finalmente deciso a ricorrere allo strumento vero ed ha chiamato ben tre drummers per “porre rimedio”. Il più attivo è Davide Guidoni, ex Taproban, ma spicca la comparsata del marillioniano Ian Mosley sul brano Imperium. La nuova opera di Doracor è un chiaro e vivissimo omaggio alla capitale italiana (ed è anche corredata di alcune splendide foto della città nel booklet), al punto che si apre con un testo recitato in romanesco da Daniele Si Nasce. Il resto è la solita garanzia: rock sinfonico di buona fattura, costruito egregiamente ed eseguito alla perfezione, con le tastiere ovviamente in primo piano, pronte ad indirizzare il sound verso elementi di musica classica, verso aperture melodiche, verso atmosfere sognanti, a lanciarsi in infuocati solos, ma anche a dividere la scena, nei frangenti più energici, con la chitarra di Milton Damia (autore tra l’altro di una convincente prova vocale). Non mancano intriganti inserimenti di violino e di sax a rendere più elegante il tutto. E la discografia di Doracor si arricchisce così con questa nuova valida prova, non distante dai migliori standard qualitativi raggiunti con Transizione ed Onirika.

Peppe De Spirito


 2008 年発表の第七作「Lady Roma」。ロベルト・ロッセリーニかピエトロ・ジェルミか、古のヨーロッパ映画を思わせるツィターの調べとモノローグで幕を開ける本作品の内容は、90 年代ネオ・プログレをいい感じで洗練、進展させた、エレガントでスリルもあるシンフォニック・ロック。ようやく専任ドラマーが参加した、と思ったらなんとその一人は名手イアン・モズレイである。なかなかやってくれるではないか。安定感もスピード感もあるリズム・セクションがあるおかげで、丹念なプレイと厳選されたであろうサウンドで優美にロマンティックに迫るスタイルが、ぐんとグレードアップした。ギターはあくまでしなやかに朗々と歌い、HR/HM な音は皆無というところも遵守されている。(6曲目「Imperium」がギリギリ) サックスが活躍するなど、どうやらそっちへいくくらいならジャズへいくということのようだ。 なぜかヴォーカルは抑揚と声質が英国 80 年代風だが、伸びやかな美声であることに間違いはない。総合的に見て、GENESIS 風キーボードをフィーチュアしたメロディアスで小洒落たシンフォニック・ロックとしては出色の出来でしょう。 4 曲目のインストゥルメンタル「Roma Dei Misteri」はスリリングにしてファンタジックなキーボード・ロックの佳曲。 ヴォーカルはイタリア語。ちなみにタイトルは「ローマのレディ」、じゃオードリー・ヘップバーンか?、ではなく「ロマの淑女」つまり「ジプシーの淑女」である。アイロニカルでなかなか文学的なタイトルだと思います。


  • 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 Già
    Guitars

    Mimmo Picco
    Guitars

    Andrea Pavoni
    Keyboards

    Mario Barletta
    Trumpet

    Ian Beabout
    Transverse Flute