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DAAL

Eclectic Prog • Italy


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Daal biography
DAAL is an Italian duet. It's a project by Davide Guidoni and Alfio Costa. They're both experienced musicians on Italian Prog rock scene - Guidoni is a drummer who had been working with Taproban, The Far Side, Gallant Farm, Nuova Era, Ozone Player and others. Costa (Tilion, Prowlers, Colossus project, Dark Session) plays keyboards - mostly vintage ones, as well as some softsynths.

It's not surprising their music is rich in lush textures, with emphasis on a multitude of layers; a heritage of Italian Progressive Rock movement is evident, as well as various other influences. A curiosity is their nod to a Swedish progressive rock scene.

Source:
http://www.myspace.com/daalband




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DAAL discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DAAL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.68 | 73 ratings
Disorganicorigami
2009
3.98 | 95 ratings
Destruktive Actions Affect Livings
2011
4.21 | 70 ratings
Echoes of Falling Stars
2011
4.01 | 178 ratings
Dodecahedron
2012
4.50 | 2 ratings
Dances of the Drastic Navels
2014

DAAL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

DAAL Videos (DVD, Blu-ray, VHS etc)

DAAL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 20 ratings
Destruktive Actions affect Livings limited edition boxset
2011
3.89 | 28 ratings
Dodecahedron (Limited Edition Boxset)
2012

DAAL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.29 | 17 ratings
Echoes
2012
4.20 | 21 ratings
The Call of the Witches
2012

DAAL Reviews


Showing last 10 reviews only
 Dances of the Drastic Navels by DAAL album cover Studio Album, 2014
4.50 | 2 ratings

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Dances of the Drastic Navels
Daal Eclectic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars You have to hand it to the Italians, they are a crafty bunch, always looking to provide fun, pleasure and emotion in whatever they decide to sink their talents into. Cooking, fashion, cars, design, footy, wine, architecture and of course, music. So veteran RPI masters Alfio Costa of Tilion and Prowlers fame and drum maestro Davide Guidoni (Taproban, Nuova Era, Aries and Gallant Farm) searched out a niche for their deepest creative urges, effectively combining sweeping electronics in the Tangerine Dream, Vangelis, JM Jarre mode and infusing them with symphonic prog, a dab of gothic ambient and some old school King Crimson motifs that, all combined in a bartender's shaker, provides a heady cocktail of astounding sounds and amazing music. The result is an original take on soundtrack panoramas, mind music of the highest order and an intense, I daresay, explorative demeanor. Dodecahedron was a masterpiece but all the Daal albums are impressive, including remakes of Pink Floyd's classic 'Echoes', and Pain of Salvation's "Undertow", ballsy and successful moves indeed! Daal is rapidly becoming a personal all-time favorite for many prog fans, yours truly on the front lines. On board are some amazing guests , the trustworthy return of marvelous guitarist Ettore Salati (The Watch, The Redzen, SoulenginE) is only trumped by the vocal presence of Tirill Mohn of White Willow fame, as well as Bobo Aiolfi on bass (a Tilion pal) . Alfio Costa handles a vast arsenal of analog and digital keyboards, uniting the Froese with the Wakeman. The mood has always been dark, brooding and hinging on evil, loaded with despair, perspiration and palpable fear, it's actually quite hard to explain or categorize.

So the mood on this strangely titled disc gets even more sombre, a spectral world of surrealism, abstract emotions and a visceral sense of suspended animation. The devilish "Malleus Maleficarum" has all these attributes in copious amounts, slashed by a lightning Ettore Salati guitar rampage. Like some fugitive train, the gruesome pulse seems both controlled and rather haywire, as if to underline the sheer audacity of playing such a style of cinematographic prog. Alfio's various sleek electronics provide an utterly modern sheen, soundtrack to some suspenseful movie. Davide shows little pity on the drum kit and Bobo follows along, smiling as his instrument rumbles mightily. Unsettling, slightly menacing and totally brilliant.

The wily titled "Elektra" suggests all manners of fantasy, a misty unfurling of swooning ambient sound that gradually involves a stylized rhythmic track, paralleled by Salati's urgent axe scouring the heavens, then followed by an assortment of synthesized gurgles, rasps, collisions and detours. Cripplingly mind-altering, the mood merges Pink Floyd's ambient ruminations with a harder edged Wagnerian psychosis that is wholly original. The insistent piano chaperones the exalted fret board most convincingly, waltzing frenetically into some unknown void. I feel this is all so disturbing!

In contrast to all the heroic Sturm und Drang, "Lilith" extols the virtues of a more sensually romantic direction, fueled by a repetitive Chopin-like piano sequence that screams both splendor and sorrow. This gentle 'berceuse' swings back and for serenely and while highly romantic, the music remains firmly slotted on an underbelly of palpable angst. The vivacious guitar repeats the theme, ultimately veering back to piano, mellow cello and military snare drum as it evaporates into the clouds. This is perfect.

La piece de resistance is the title track, a monstrous affair that spans nearly 24 minutes, "Dances of Drastic Navels", a slow burn entrée that infuses a wide variety of effects, enough sampled distant voices, shudders, pants, clicks and beeps to fill a sound gallery. The Gothic straight jacket guitar has an ominous tone, the piano remains chaotic and slivers of synthesized spittle adorn the echoing drumbeats, the progression stays laborious and unhurried. The second part involves even more weird sweeping electronics, dense mellotron carpets and that aggressive low guitar tone that recalls Mick Ronson, though in an obviously more sinister environment than the Spiders from Mars! The perverted piano asserts the degenerative illusion of something going gradually bonkers, the feverish mood is impeccably classic King Crimson inspired, while the sequencer- crazy synths offer up a near Klaus Schulze/Tangerine Dream feel, less Teutonic and way more insanity- oriented. The final section reverts to shimmering beauty ,after dealing with the nasty beast and shows clearly that Daal can master both extremes, perhaps even boldly going even further into the depths of such a 'starless' universe. Tranquility returns in the guise of an achingly gorgeous piano, entwined with the most subtle mellotron I have ever heard. The mighty string machine flickers along majestically, Salati pointing his guitar gun and firing in semi-automatic mode and Costa pushing the ivories along. Astonishing yet also disconcerting stuff!

Just when one expects another tenebrous arrivederci, the Daal crew set out to completely astound with a piece that is out of context though not necessarily out of character, the sweeping melancholia of "Inside You" will have you scurrying to find your misplaced jaw, accidentally kicked in all the commotion, to the trash-infested curb. Tirill Mohn of White Willow and solo fame, takes over the microphone with her panting and sensual voice, with the mission to thoroughly stun and surprise. Guest violinist Letizia Riccardi plays with masterful emotion, compounded by the multi-layered voices of the Norwegian star.

This is not RPI, not really Symphonic, definitely not Neo or Crossover, Daal is a one of a kind purveyor of drastic plastic (to quote Be Bop Deluxe) that truly seeks to take the musical adventure into further realms of creativity, further stretching the boundaries between genres and sub-genres. Their catalog has kept on growing in quality and stature, so this will remain one of my 2014 favorites. It goes without any wonder or surprise that my most esteemed colleague and, to a certain extent common prog traveler Aussie-Byrd-Brother, has anointed this with equal universal acclaim.

5 dire umbilici

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 Dances of the Drastic Navels by DAAL album cover Studio Album, 2014
4.50 | 2 ratings

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Dances of the Drastic Navels
Daal Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Occupying a particularly dark corner of the Italian Prog scene, DAAL, a duo comprised of Alfio Costa (with an army of vintage and modern keyboards) and Davide Guidoni (an assortment of acoustic and electronic drums/percussion), couldn't be further away from traditional RPI sounds. Instead, they favour a varied mix of very modern sounding dark electronics, classical sophistication and avant-garde sophistication in their music, and their fifth release since 2009 offers their heaviest, most gothic flavoured work to date. Predominantly instrumental, the bafflingly titled `Dances of the Drastic Navels' (a reference to several pieces from their previous albums) confirms that the band and their music keep growing in stature and maturity with each release, delivering more intricate and lavish music each time, trying to balance gloomy darkness with reassuring light, and it's one of the standout progressive releases, Italian or otherwise, of 2014.

Opener `Malleus Maleficarum' instantly grabs you by the throat and squeezes, an unholy trinity of shimmering electro-pop synth sleekness, intimidating slab-like sludgy metal riffing and eerie piano ambience. Davide's skittering clipped percussion loops and bashing drums, disorientating warping effects and hissing voices recall fellow Italian gloom-mongers Antonius Rex. The DAAL fellas seamlessly bring the piece out of a reflective ambient passage in the middle by way of heroic and grand electric guitar soloing, perfectly displaying their mastery of build and drama. `Elektra (An Evening With...)' opens in a very ambient manner with sustained electric guitar notes over gentle lapping washes of synths before lurching monolithic riffs oppress with a variety of twitching programmed beats. Fellow Italian prog-related musician Ettore Salati's emotional guitar ruminations make the piece resemble a more darkly symphonic version of Pink Floyd.

`Lillith' is a sorrowful, reflective, impossibly beautiful and fragile lament, like the most pitch-black morose version of King Crimson you've never heard before. Mud-thick Mellotron full of infernal regal majesty drones over ghostly piano, chiming acoustic guitar and groaning cello that puts most gothic bands to shame. The 24 minute title track epic has the band incorporating reprises and themes from previous instalments of the piece on past albums, but it more than stands on it's own feet. Due to the longer running time here, there's plenty of room for the band to deliver ambient and slowly building intimidating atmospheres. Droning treated voices, trickling electronic bleeds, hypnotic pounding drumming and maddening repetitive electric guitars wear down the listener. The second movement resembles a magical gothic pantomime, searing violin crying around ominous Mellotron, Bobo Aiolfi of Italian prog band Tilion's forceful bass and Alfio's cascading piano. The next passage moves into a nightmarish Tangerine Dream-like electronic breakdown before a Mellotron soaked King Crimson-styled symphonic finale, all delivered with power and grandiosity.

But the band save the best until last. Letizia Riccardi's weeping violin, stark piano, uneasy ambient white-noise and fluid fretless bass mourn together with guest Tirill Mohn's incomparable feminine sadness on the final piece `Inside You.' The Norwegian prog-folk artist, ex of White Willow, is no stranger to wounded yet hopeful music, and her voice here is defeated yet defiant, full of longing that cries tears of downbeat beauty. This exquisite closer is one of the absolute greatest and most moving moments to appear on a progressive music release in all of 2014.

Band member Alfio spoke of isolating himself away to write the compositions for this album, and that sense of loneliness and seclusion permeates the entire disc. With it's sinister and unsettling cover artwork to the gothic inspired creeping suspense with the music itself, DAAL's fascination with real mood and black atmosphere ensures the album is their most cultivated and mature work so far. Those who find darker Italian prog artists, as well as the poetic sadness of bands like My Dying Bride will very much relate to this one, and even more adventurous metal and gothic fans will find plenty to interest them here. It's amazing to discover how DAAL keep refining and perfecting their mix of dark ambience with modern electronics, and it's another winner for the Italian duo. As mentioned at the beginning, it just may also be one of the standout moments in progressive music in 2014...if you don't mind a walk on the dark side!

Four and a half stars.

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 Destruktive Actions Affect Livings by DAAL album cover Studio Album, 2011
3.98 | 95 ratings

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Destruktive Actions Affect Livings
Daal Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars The second Daal effort ''Destruktive actions affect livings'' came out in 2011 in two different versions: One coming with the bonus CD ''Echoes of falling stars'' in an extremely limited edition of around 60 copies and a more regular one, featuring only the album.Again the whole sessions took place in two different studios with a nice number of famous guests helping out: Guglielmo Mariotti and Ettore Salati from The Watch on bass and sitar respectively, Alessandro Papotto from Periferia del Mondo and Nodo Gordiano on sax/clarinet, violinist Riccardo Paltanin, Germinale's Salvo Lazzara on guitar and Roberto Aiolfi of Prowlers and Tilion on fretless bass.

The presence of all these guests does not mean that Daal have removed from the experimental, Avant-Garde and electronic soundscapes of their debut.The musicians appear separately in specific moments of specific pieces and the music is still grounded on Davide Guidoni's heavy percussions and Alfio Costa's depth on a keyboard manifest and samplers' possessing.Take equal beats from Electronic Music, Industrial and Progressive Rock and throw them into a mix to imagine what this whole project is all about.Sonic soundscapes, distorted instrumentals, vintage refrences in a Film Score mood ala GOBLIN and some extremely haunting prog stuff with a slight KING CRIMSON edge due to the strong use of Mellotron and the sparse presence of electric guitar.There are even references to Eastern-Asian and Ethnic Music as well as some horrifying, symphonic tunes in the vein of IL BALLETO DI BRONZO.Vocals are very limited (as on the 17-min. ''The dance of the drastic navels part II'') and the album is obviously directed to experimental forms on using keyboards and samplers as a guide, balanced by other changing instruments.It's some sort of an Avant Prog release with emphasis on cosmic electronics and sinister keyboard themes, which surprisingly works quite nice, despite the exhibition of many loose executions and semi-improvised acoustics.

Solid work for the mystified community of Experimental Prog.Lovers of Avant-Garde Music ala FRANCO BATTIATO or ALAN SORRENTI as well as those into mysterious Soundtracks will love this one as well.Recommended.

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 Destruktive Actions Affect Livings by DAAL album cover Studio Album, 2011
3.98 | 95 ratings

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Destruktive Actions Affect Livings
Daal Eclectic Prog

Review by tatoosha

5 stars The music is a composition of strong emotions, especially if you appreciate Progressive Rock, the genre in which the artist feels free and "naked" in experiencing their feelings into sounds. There is one who rides the genre on the waves of others' success, remaining tight to certain stereotypes, and there are those who are carried away from the heart and mind, maybe even into the paths never discovered before. Alfio Costa and David Guidoni are the Daal (from Bergamo) and those who follow the Italian Prog scene, already knows the caliber of the characters in question. To accompany the two artists there are special guests, such as Guglielmo Mariotti (The Watch) on vocals and bass, Ettore Salati (The Watch) to the sitar, Bobo Aiolfi (Tilion) on bass, Alessandro Papotto (Banco) on sax, Salvo Lazzara (Pensiero Nomade) on guitar and Riccardo Paltanin the violin.

"Destruktive Actions Affect Livings" continues the discussion undertaken with the debut album in 2009 titled "Disorganicorigami", running the sensations almost on the same track. Having to deal with musicians who are part of the DNA Prog, inevitably their entire musical culture is to show where in every single song, also passing through psychedelic style Pink Floyd at the New Prog and so on and so forth. Character and musical culture collide to give life to a work definitely difficult to memorize, but thit makes you think and excites. The artwork is obviously by Davide Guidoni.

The spatial two minutes of "The Redroom" enable to predict what one will encounter, thrilling and fantastic emotions, thanks mainly to the electronic equipment. Interlayer between growing and thoughtful pauses shakes the psyche of the listener, who is accustomed to Prog Psychedelic, has something to think about, otherwise the journey becomes steep and complex as in "Anarchrist." Daal flies high, between the cosmos and the border of the imagination. Investing time and money today, 2011, in such operations has something masochistic, because the society with 'bite and escape' rules, leaves no way to any other alternative business, for this "Destruktive Actions Affect Livings" in the eyes of the fans of the genre takes on a critical bombast, while the daily listener may encounter difficulties of acquisition. This is obviously not interesting for the duo, who launches headlong into the music that fills the mind. Psychic soundtrack, introspective moments, walking inside 'myself", game of feelings, fear, grief and amazement, basically a game in which no sound will come across every day.

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 Dodecahedron by DAAL album cover Studio Album, 2012
4.01 | 178 ratings

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Dodecahedron
Daal Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars The fourth DAAL album from 2012, `Dodecahedron', sees this talented Italian band take their varied compositions to the grandest heights possible, resulting in their most richly detailed and defining musical statement to date. Despite hailing from Italy, DAAL, or rather the two main musicians Alfio Costa (with an army of vintage and modern keyboards, check the detailed list above!) and Davide Guidoni (all manner of acoustic and electronic drums/percussion), rarely compose in the style of traditional Italian progressive rock (although this one has more of those moments that previously), instead favouring a varied mix of very modern sounding dark electronics, classical sophistication and avant-garde experimentalism, all soaked in oceans of the grand ol' Mellotron. The duo have also recruited guest players from numerous other Italian bands such as Banco del Mutuo Soccorso, The Watch, Hostsonaten, Soulengine, Trama, Tilion and Archangel to achieve their ambitions with this work.

Despite being fully instrumental, each of the twelve tracks here are represented by a mix of stories or poems, not only written by the two main musicians, but also from submitted pieces by fans of the band and elsewhere. Generally of a darkly supernatural quality (this is also highlighted by the uncomfortably occult themed artwork on the album cover and inside the CD sleeve), the words offer the duo ample opportunity to present their eerie soundtracks, and, taken as a continuous whole, the work seamlessly moves through a wide range of shifting moods, emotions and atmospheres. Other reviewers such as Andrea have already offered a definitive look at this project relating to the words of the various poems and stories provided, so I'll mostly focus instead on the music, especially considering it's a purely instrumental work.

`Bianco' opens with an howling distorted wail, truly the sound of a soul in torment, and the music that follows perfectly captures the words of solitude offered in the CD booklet. A gently maddening storm of flute and saxophone from Banco's Alessandro Papotto, pitchy electronics and spooky piano is contrasted with almost an heroic or victorious Mellotron theme over purposeful drumming that King Crimson and Anekdoten fans will quickly love. `Sclerotics Days' is mostly a grand extended slide guitar solo from Ettore Salati in the proud David Gilmour tradition over glorious intimidating Mellotron, highly emotional and overwhelming. `La Suora Nera' is a brooding heavy stop/start guitar stomper that offers some more strangled Crimson menace, but also steps a little closer to traditional Italian prog with moments of classically inspired violin, somber piano and militaristic drumming. Some spiraling Moog solos almost give little moments a Rick Wakeman touch as well. `La Bambola di Lana' is a sorrowful tale of children who have lost their parents and the form that death manifests itself as, it's presented as a spectral waltz, full of drowsy drumming, reflective cello and ghostly piano that frequently brings an R.I.O flavour.

The moody ambient jazz of `L'Ultimo Incontro' features an increasingly desperate and suffocating clarinet solo from Alessandro until Mellotron's cut their way through to bring a slightly malevolent quality. Despite another grand Pink Floyd inspired electric guitar solo in the finale, the title track is a droning ambient middle-eastern flavoured desert-blown flute and electronic experiment that reminds me of a more successful marriage of the different styles that Agitation Free attempted to mixed results on their `Second' album. Guest harpist Vincenzo Zitello has a standout moment on `La Torre', a delicate medieval flavoured acoustic interlude (with hints of Andreas Vollenweider), while `Bambino e il Sogno' is a dreamy and disorientating electronic sound-collage that creates a very hypnotic mood, almost like something off Gong's `You', with some nice thick bass work from Roberto Aiolfi of Tilion.

After a couple of those more sedate and thoughtful pieces, the relentless space-rocker `I Can Not Let Go' kicks back to life with swirling electronics, scratchy Mellotron and searing violin. `The Moon Is Pale Tonight' returns us to the earth, a sweetly gentle yet melancholic jazzy come-down with sublime saxophone playing again from Papotto. The next two pieces are especially a showcase for violinist Sylvia Trabucco. The experimental `I Left For Home' is a vioin-led lonely gothic lament, with subtle use of Mellotron, metallic looped effects and a variety of repetitive percussion to wear the listener down. The classical album closer `Il Padre Vedevo Distante' is a sorrowful piano and violin-led epic that almost takes on a glorious orchestral majesty, with Moog soloing full of longing, regimented drumming and what feels like a slab of Mellotron bearing down on the listener with a stalking wicked glee.

Make sure to give this album a listen on a good pair of headphones to get a better idea of the depth of Alfio and Davide's playing and the clarity of their compositions. Each album from the pair sees them revealing new qualities, and despite being over 70 minutes in length, there's not a filler track to be found, each piece successfully creating a mood that stays with the listener long after the disc has ended. No doubt, `Dodecahedron' is truly sumptuous, and without question, it's the most complex, intricate and sophisticated work to date from the Italian duo. Where they go from here will be hugely thrilling to discover.

Four and a half stars.

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 Dodecahedron by DAAL album cover Studio Album, 2012
4.01 | 178 ratings

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Dodecahedron
Daal Eclectic Prog

Review by tatoosha

5 stars The new album by Daal, bizarre Italian musical reality, is a monstrously rich album, articulate, complex, iridescent, these the first impressions! "Dodecahedron" , as the title suggests, has 12 twelve acts, twelve soundscapes inspired by Gothic tales written by friends and fans of the band, a synergy of music and literature appropriate and suitable to the spirit of the noble and intellectual of the group . "Dodecahedron" is an instrumental album infused with a multitude of suggestions, atmospheres and nuances that produce inner vibrations, feelings and emotions that only artists can translate into living matter, as is the case for painters, sculptors, and also musicians. Progressive music mixed in with large brackets folk, psychedelic and ambient with a predilection for melancholy skies, blacks, disturbing, sinister, mysterious although never distressing or frightening. Daal don't want to impress you with easy emotions, always seek the most difficult, subtle, cathartic, then to blow up all the anxiety of those who listen, and intimidated at the same time lulled by the sound of stories, deep and visionary as the outcomes of a night, at the base of absinthe and gothic spiers. An album that is the antithesis of banality.

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 Disorganicorigami by DAAL album cover Studio Album, 2009
3.68 | 73 ratings

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Disorganicorigami
Daal Eclectic Prog

Review by admireArt

3 stars DAAL's first registered 2009 album: "Disorganicorigami", shows clearly the band's whereabouts.

Quiet deconstructed and excessively experimental, it somehow prefigures DAAL's "future", far more polished albums. But that will be the "future". This one holds some very good songs, others are good, and some others kind of expendable. The best surprise is to find these guys roots, on Non-prog/Prog bands like "YELLO", "Tuxedomoon" and "Underworld's" electronic/ trance.. Also, a lot of very early "electronic music",( which by the way, many consider Italy to be its "craddle", way back in 1930). And close to Prog influences like Van der Graff, ELP, Univers Zero and Klaus Schulze's first works.

"The good and the not so good":

It is daring but also simplistic. It has attractive and intelligent proposals, but stays short of them more than once. The experimental "electronics" opposed to "acoustic" instruments performances, predict their "future" musical language, but on this one, the results on some songs is outbalanced by one or the other. The use of "vintage" synths sounds is novel in these "times" (2009), but the sound alone does not help much, if it really does not trascend the mere use of them as "collectible vintage instruments". And finally although there are interesting musical lines that could have been worked, more than once they just act as background, to less surprising structures, that have been "worked" vaguely or to an excess of repetition.

The best is that this band will jump from this to their 2nd., excellent album. And the good parts outweight the not so good.

To wrap it up, good but will be better. This is not the best place to start your DAAL's aquaintance, more for people who have already listened to posterior works and care to know this band's whereabouts. Therefore good, but not essential, until you listen to their following projects and become a DAAL's follower .

***3 PA stars.

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 Destruktive Actions Affect Livings by DAAL album cover Studio Album, 2011
3.98 | 95 ratings

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Destruktive Actions Affect Livings
Daal Eclectic Prog

Review by admireArt

4 stars At least, DAAL got away from the rather "claustrophobic", Rock Progressivo Italiano, tagging.

No singing in italian, to send them down there, this perfect match between "hungry like" electronic performances and nearly early baroque musical figures, so well fusioned together, without becoming pretentious, but "genial" every time they "pass through", deserves to be again reviewed. And thanks for this recommendation.

For starters, the "eclectic" (or by the way, "crossover") sub genre's tagging is kind of a mystery for me , so I would not start reviewing over those terms. This second DAAL's " Destruktive Actions Affect Livings" is as daring as early "prog-electronic" experimentations, which actually gives the work its whole "conceptual" character. The part that has to do with the song writing and singing will otherwise sound as a David Sylvian's rendition. The construction of "electronic music", from an otherwise "uncomfortable" plattform as pure "symphonic" or chamber lines and instruments, is what pulls this work upwards to become a "must listen to this" album.

The result of this "mix" of simmultaneous approaches and languages, with a never ceasing flow of attractive melody lines, makes the whole experience, as being "hypnotized" by two charmers at same time. It turns out hard to decide by whom , both are "charming". The right sound at the right moment, no minute, is unworth or wasted.

So,.. Intelligent music writing, the way they use rather "cliched" (by others) structures to their benefit (like Jazz structures and others), the obvious, but wise, use of "very early" electronic sounds (prog and not), including references to Zanov's "Green Ray" andFranco Leprino's "INTEGRATI... DISINTEGRATI ". The blend of "baroque figures and instruments opposed to "computerized" electronics, also the "under lined" subtle tribute to Univers Zero, in some structures. And finally, being conceptual and creative at the same time, without repetition. (not the other way around).....

Well, this one has a lot to offer and it is as good as DAAL's "future" fourth album "DODECAHEDRON" (2012). And the same ****4 star rating, that means, "don't miss this album", it will fit in your prog collection.

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 Destruktive Actions Affect Livings by DAAL album cover Studio Album, 2011
3.98 | 95 ratings

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Destruktive Actions Affect Livings
Daal Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars One look at the fascinating and ominous computer illustrated sci-fi cover of Daal's second album `Destruktive Actions Affect Livings' should instantly tip listeners off that this work will be one for the fans of darker music! That's mostly true, but there's a lot more going on here than that. What makes the duo of Alfio Costa and Davide Guidoni so interesting is that beneath cold electronics and murky atmospheres, they incorporate elements of ambient music, psy-trance, gothic, classical and even brief touches of proper Italian prog and jazz to fascinating results. It's an album of beautiful contrasts, seamlessly moving back and forth between light and dark passages, eerie ambience, brooding heaviness and sedate thoughtful movements. Although I'm yet to work out if it's a proper concept album or not, most of the music flows together, one track blending with another. It's like the listener is moving through a futuristic apocalyptic world, or trying to escape a sinister scientific lab or haunted house, and each piece is a different room, a different encounter to escape through to gain your freedom and glimpse just a trace of hope on the other side.

`Redroom' makes for a haunting opening, fragmented radio transmissions and distorted electronics blur into an almost metallic droning ambience. The Mellotron fuelled `Anarchrist' sounds like Steven Wilson jamming throughout the darkest King Crimson moments, a brooding and impossibly morose slab of psy-trance with plodding bass, manic drumming, a straining guitar solo near the end and tip-toeing ghostly piano majesty to end on. The unpleasant and fascinating soundscape `Music from an Interlude' could almost have been taken from an album by fellow Italian band Antonius Rex, full of stomping footsteps and creaking doors over crashing cymbals, harsh thick electronics and a maddening electronic pulse. `Level 6666' features sweeping and confident classical piano over regal Mellotron in the manner of the vintage Italian progressive bands, and I love that while you're sinking to deep depths below with the unnerving gothic atmosphere, it also takes you to spiritual and hypnotic highs with use of a sitar.

The almost 17 minute absurdly titled `Dance of the Drastic Navals pt 2', a continuation of a piece from the debut album, maintains a maddening build-up of suffocating unease and unnerving intensity throughout. The only track to feature a proper vocal, Guglielmo's Mariotti's voice takes on a pleading and sadly romantic quality, with just a hint of obsession and unease - "I'd like to be the wind, lost in your hair, I'd be like fire. I'd like to be the blood inside you..." - so full of clawing lust and sweet desire. The music around it is a mix of creeping 70's Pink Floyd intensity (just listen to the glistening organ and booming cymbals straight off `Ummagumma' in the middle!), droning liquid ambience, intimidating electronic oscillations and a glorious, almost joyful violin/piano led finale. Simply beautiful.

The nightmarish `Cry Hologenic' is a fragile piano piece interspersed with very harsh cutting electronic drones. `Aglatarium' begins as a mostly downbeat jazzy piano and sax piece before dissolving into a psychedelic keyboard breakdown, and it would have sounded right at home on any of the daring Italian prog album of the 70's. The ten minute title track blends purring deeply ambient Tangerine Dream-like electronics, gentle programmed beats and faraway frantic sax with all sorts of daring RIO/Avant-garde experimentation. With a title like `Memories of Old Pictures', it's not surprising to find the album closer is a reflective and somber piece, full of lonely sax, piano and gloomy Mellotron with a chilling and howling electronic climax. The piece perfectly shows that despite the level of cold electronics the band frequently surrounds themselves with, they never lose touch of their humanity, actually something they balance perfectly throughout the entire album.

`Destruktive Actions Affects Livings' works beautifully as both a background listen and one worthy of your full listening attention, where you'll discover all sorts of rich subtleties and hidden secrets. Daal have a very unique interpretation of progressive rock, one that incorporates a wide range of influences without ever resorting to anything resembling clichés or imitation. It's a very modern sounding album that still respects progressive rock of the past while always moving forwards, and fans of electronic invention, heavy or gothic music and maybe even the more experimental Italian progressive artists will find much to enjoy here.

Four stars.

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 Disorganicorigami by DAAL album cover Studio Album, 2009
3.68 | 73 ratings

BUY
Disorganicorigami
Daal Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

2 stars Italian duo, formed in 2008 by two veterans of modern Italian Prog: Keyboardist Alfio Costa, founding member of Prowlers and Tilion, and drummer Davide Guidoni, formerly of Gallant Farm, The Far Side and most notably Taproban and graphic designer of several artworks for prog albums.The two men resided in a farmhouse at the Viterbo Hills for about a week to compose the material of what was to be their debut album ''Disorganicorigami''.The recordings took place at two different studios between September 08' and March 09' and a deal with Mellow Records secured its release in 2009.

The aim of the duo was to free themselves from the borders of the more classic forms of Progressive Rock and come up with a work with no particular boundaries...except maybe from an instrumental point of view, as Costa handles all vintage and digital keyboards and Guidoni all the percussion and samplers on the album, which has limited contribution by other instruments by a few guests.The music is quite bombastic and extremely psychedelic at moments, creating acidic instrumental trips, which recall Electronic Kraut Rock, Experimental Rock, Classic Prog, Jazz and even Ethnic Music.Structurally the arrangements are rather loose, especially in the longer pieces, which sound quite improvised, the shorter ones being more cohesive and thus more competitive.So the listening actually consists of powerful and highly cinematic tracks with a tremendous grandieur to rather incosistent, long compositions with some intersting ideas as well as boring textures.Costa's armour is endless, including Mellotrons, organs, moog synthesizer as well as different modern keyboards and he is the main reason of the diversity of the sound, from old-styled Symphonic Rock to trippy, contemporary Electronic Music, supported by Guidoni's samplers.Some sax and violin parts add respectively a jazzy and Chamber atmosphere in the album.During the composing process of the album the duo was shocked, hearing the news about Richard Wright's death and they included a cover on ''A Saucerful of Secrets'', which sounds quite nice along the lines of the group with good changes between old-fashioned and digital keys.

Original and weird stuff by these Italians.''Disorganicorigami'' will be loved by all fans of more Avant- or Experimental Rock forms and keyboard freaks with a tendency towards atmospheric musicianship, but it will also be a hard listening for followers of more conservative prog material.Nevertheless, this is a recommended and very fresh album.

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