OPUS I

A young progressive band, modern without being stressed by modernism, still a bit more obscure or, sadly, hidden to a general public - doesn't this sound much too familiar, in a recent musical world of prog rock, in which some new bands make a delicious music and a classy style without catching the headlines, but others, just as new, make a spill of a music and even reach impressiveness by that? Diapasão, from Brazil, cover their ears to these bad thoughts, nonetheless, they should deserve much more attention in today's prog circles.

Their satisfaction resumes to a crystalline, adventurous and sometimes lightened style of prog rock, having a quality that, remarkably, allows only one dubious question: is Opus 1 a good debut or a definitory album? Despite having in mind that such a fresh style will need to be heavily preserved, through an equally clean tradition and charming aesthetic, I would generally pick the second reflection.

Diapasão has its star in Rodrigo Lana, but the music, without clings or condiments, expresses a trio's performance of good behaviors and gentle expressions, against the more and more rustling attitudes of music - being, therefore, the rhythm and the work of all three musicians. I'd dare say that a classic prog band, coming with an album so simple and serene as this one is, would have fallen in some kind of disgrace - instead, the whole album by Diapasão can serve in a way not decadent, but affective, its new period of prog. Obviously, the band covers some classic influences, out of which the style's initials belong to symphonic beauty. On second place comes the descriptive art of rock melody.

Rodrigo Lana makes out of the piano a beautiful and sentimental instrument. Credits mention "piano and keyboards"; I for one tend to think that the whole set of keyboards could adapt even the purest (and most divine, subjectively added) pianistic sound, still I'm glad to hear a pianoforte style that's overly consistent. I like the moments when the similarities with Rick Wakeman's own fantasy play build up really intense, because Lana plays with much passion and harmony the kind of piano music Wakeman often found it as new-age glitter. On the other hand, I'm not enthusiastic by any association made with Keith Emerson, since that great prog pianist rarely resisted the temptations of kitsch and catchy play; R. Lana resists, even tries a spotted recipe: accuracy with artistic simplicity. The album, though "pianistic rock", will finally catch powerful aromas, because G. Amaral and F. Moreira perform compactly and heartedly, Opus 1 gaining, by that, original vibrations.

The album sugars impressions of rock with classical, jazzy, romantic and a bit of hot-headed new-wave improvisations. Most of the titles are enormously sugestive, but the band doesn't fall asleep thanks to that thing either: they play with a burn, plus with a smart form in mind, and with a minimalistic fulfilled style and fruitful serenity. Till the end, the subtlety doesn't get exhausted - though it is exactly the final that is more uninteresting, the band also playing jazzy symph instead of Rock Espanyol!, blues instead of Jazz!, or falling on their heads upon the mini-outro, much too playful. The big pieces are also the best played ones, having contrasts of a complex or capricious manner. Don't wish to end this with a stinging note, but I will remark that some moments aren't perfect, and the great mishap of Diapasão is that they use expressions instead of melodies.

A beautiful and inspiring album; eagerly awaiting future evolutions by Diapasão. It's true, the more artistic or experimental new or fresh prog rock will always incite more and better, but right after that, Opus 1 and its style is of a highly promising value.