ETERNAL ECLIPSE OF FROST

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I would say that "Eternal Eclipse of Frost" is more gothic than progressive rock or, at least, a mixture between both styles. There are some very nice melodies and orchestrations, and I like -specially- the beautiful viola and violin presence, but most of the album is dominated by powerful guitar and drums loads, while the female operatic voice "fights" against the solemn male chorus.

Unlike typical gothic bands like TRISTANIA or THEATER OF TRAGEDY (except the latest album in this case), DUNWICH doesn't use growlings or rough voices, but the style is basically the same. So, after to listen to this album (the only I heard from DUNWICH), I could categorize this Italian band like a "soft gothic" group.

The most delicated and melodic tracks ("Il Nostro Incanto" and "L'Avorio Di Irene") are the highlights, while the rest is good but essentially reiterative. Nevertheless, all those who like gothic music without the heaviest metal hints and with progressive elements will surely enjoy this album.

DUNWICH is an Italian band doing originally a blend of folk and symphonic progressive rock. Apart of this one here I'm owning only their second album which is completely different from "Eternal Eclipse Eclipse Of Frost" being neither pure Folk Prog Rock nor would I put it merely into the gothic corner. Instead this album is done for sure in a more artistic and progressive way than any gothic album (although I like this type of music as well a lot). It's really a nice blend of a gothic backbone with some symphonic elements known from 70s Italian bands and as well some folk influences. But it does not sound like a utter chaos at all and everything fits nicely together. The voice of Katya Sanna is stunning beautiful and beating every female singer, even the best ones like Tarja Turunen from NIGHTWISH in the gothic metal genre. Although having quite rocking parts now and then with excellent guitar playing the album never becomes too much metal-like overall and could be called a more mellow one, but not in a cheesy way at all. The acoustic parts using folk and classical type instruments are very well performed and the male choirs as counterpart to Katya's vocals is fitting as well nicely into the whole concept. During the past few years more and more bands have been showing up that are mixing influences from folk, gothic and acoustical classical music like WHITE WILLOW, AUTUMN TEARS or ARISE FROM THORNS for example. I have to say I find this type of music very interesting, innovative and as well nice to listen and it's almost asking for the creation of a complete new sub-genre since these bands usually don't fit in any of the standard "drawers". I find such "hard-to-categorize music" one of the most interesting ones because it's really something new. As a conclusion I'd like to say that this album is recommended for anyone interested in discovering new innovative music, as well for lovers of 70s Italian prog like PFM, Le Orme, Banco who are open for gothic rock music. Gothic fans should check it out anyway. Maybe it's not that interesting for "puristic progheads" since it's lacking a bit of complexity. But overall I find my 4 stars rating is justified.

This Italian band is rooted in 1985, this album is from 1999 and features the trio Claudio Nigris (keyboards and orchestrations), Katya Sanna (vocals) and Alessandro Vitanza (drums) along guest musicians on bass, violin, Gaelic harp, trombone and acoustic - and electric guitar. The CD starts with a bombastic choir and metal guitar in the vein of Steve Vai, then a slow rhythm featuring a blend of choir, trombone, sparkling keyboards and fiery electric guitar. The music turns more and more into ominous, the thunderous guitarplay sounds like a heavy Alex Lifeson! The final part from the second track contains Celtic harp, this folky element returns frequently in the next songs. This makes the music not only very captivating but also less accessible, this progrock is far from mainstream: the one moment you are headbanging on metal guitar riffs, the other moment you dream away with Celtic harp or Hurdy-Gurdy violin. Sometimes I trace elements from Tale Cue (but this female singer sound more powerful and stable) and progmetal band Rhapsody but in general Dunwich sounds like .. Dunwich, another great band from Italy, FORZA ITALIA!

Dunwich is a strange Italian Progressive project that began in 1985 with keyboardist Claudio Nigris' fascination for ancient themes using new instruments, delving into medieval, baroque and Celtic areas of inspiration , this being the third chapter in their discography. His keyboard style is very reminiscent of the Enid's Robert John Godfrey, in that his orchestrations are massive, bombastic and heavily synthesized, with an almost classical flair. Karya Sanna provides the female voice, aided and abetted by lush and plentiful male choir backup arrangements, giving this an almost operatic feel at times. The drums are programmed but sound very good in this misty whirlwind of sound. There are loads of guest musicians on cello, viola, violin, hurdy-gurdy, Celtic harp, various brass instruments, some tremendous heavy lead guitar by Phil Salera, bass and real drums. The music is a very complex brew that is completely original with an ever present Celtic- Gothic feel, Enid-like orchestrations and huge vocal choir work that is quite stunning. There are also brief spoken introductions that give this a concept feel, at times spooky and gloomy as if echoing off the spiraled dungeon walls, then suddenly swerving into more pastoral settings, hinting at folkish histories and then sliced up with some shivering lead guitar that rather evokes the Trans Siberian Orchestra! Highlights include the stunning "Passaggio a Saint- Briac", the shimmering 2-part "Il Vento di Aran" , the purely pastoral beauty of "Alchiminga" , loaded with medieval instruments and assorted vocal effects leading into the majestic "Preparazione al Trono" with a sizzling lead by Salera that screams and creams as if a Satriani was in the house, complemented by massed male voices and violin solo, very nice indeed. "La Veglia dei Angeli" is outright lumbering and is not one of my favorites here with heavy double bass drumming, crunchy rhythm and lead axes chopping away at the arrangement, as if in some state of ecstasy, a torrent of sound and fury. "L"avorio di Trene" is more whirlwindesque, a spiraling vocal melody, with wondrous harp , booming bass, poly drumming and Sanna's voice reaching for the heavens, again helped by huge testosterone massed choirs. "Il Bosco Sacro" is another quieter piece, with a delicate string quartet intro, a typical mellifluous vocal gymnastic display from Karya and a gentle exit. Two unnamed and unaccredited bonus tracks offer up more of the same recipe, great background music, perhaps ideal at Halloween or the wintery months where such "cold and frosty" music can enjoy entertaining the CD player. A good addition if you are looking for something a bit different to scare your neighbors with. 4 sacred bushes.

Since every album sung in Italian belongs now to the RPI genre (hopefully elephants can't sing) this "Dunwich" album (third in their career) can be quite misleading for the ones who are expecting the passion and drama from the masters of Italian symph. But I already made this comment with some of their earlier releases.

Is it sufficient to performs some thirty seconds of a very guitar break while closing "Passagio?"? I don't think so. This album sounds heavier than their prior two ones (which were rather folk oriented). This is particularly true while listening to "Il Nostro Incanto" which is just a hard approach with little tact to tell the truth (even if the same comment than for "Passagio" is also confirmed (I mean a great guitar finale).

Some prog metal a la "Nightwish" are even available during the average reprise of "Il Vento Di Aran". You might have understood that this is not my favourite album of all times. There are tens of gems from the genuine Italian genre before you should bear this one. Actually, there is no real need to be addicted to this one.

Some fine and folkish moods are still available (but very scarce) like during the very good "Preparazione Al Trono" but overall the metal lines are gaining territories (and I'm not quite found of these): "La Veglia Degli Angeli"".

I guess that this album could please any of the "Nightwish" fans from this site. As far as I 'm concerned, two stars is the rating. Can't consider this as a good album. And I tried hard...

DUNWICH are an Italian band who feature both male and female vocals in Italian. They offer up a variety of styles including Classical, Gothic, Symphonic, Metal and Celtic. And while this is interesting it just doesn't work for me. I was remined of DEAD CAN DANCE a few times as well with the atmosphere and ethreal female vocals. Check out the long list of performers though, with celtic harp, hurdy-gurdy, cello and several violinists etc.

The album opens with some narration and atmosphere before we get to "Il Largo E Salito Al Cielo". It opens with this gothic sounding male choir before the guitar cries out. Drums and a full sound follow with female vocals. Male vocals and horns take over then themes are repeated. "Passaggio A Saint Briavc" has this nice heavy intro as female vocals join in. I like the guitar 3 1/2 minutes to almost the end of this song. "Il Nostro Incanto" is catchy and lighter with female vocals. Gothic male vocals take over and contrasts continue. Not a fan. "Il Vento Di Aran" is led by strings early then these ethreal female vocals come in. Not a fan of this one either although it's much better when the drums and guitar take over around 2 minutes.

"Il Vento Di Aran (Reprise)" features the strings and female vocals of the previous track. "Alcheringa" has this catchy beat with female vocals. Guitar after 2 minutes and violin late. Not a fan. "Preparazione Al Mono" has these Power-Metal-like drums that come in while the guitar rips it up late. "La Veglia Degle Angeli" features female vocals and heaviness. I like the chunky bass here. Male and female vocal melodies after 3 minutes. "L'Avorio Di Trene" opens with strings as female vocal melodies join in. The tempo picks up. Not a fan. "Il Bosco Sacro" is drum and female vocal led. Guitar before 2 minutes. In the conclusion we can hear the wind blowing as she sings slowly.

Unfortunately there's more here that I dislike than like. It's probably worth checking out if your into NIGHTWISH or DEAD CAN DANCE although this is a different animal than those two.