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Daal - Decalogue Of Darkness CD (album) cover




Eclectic Prog

4.25 | 291 ratings

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5 stars Decalogue of Darkness is a new Daal album released in 2018, simultaneously with "Navels Falling into a Living Origami". Stylistically Decalogue of Darkness is a return to the atmosphere of "Dodecahedron", considered by many the best work of Alfio Costa (Mellotron, piano, noises, samplers) and Davide Guidoni (drums, acoustic percussions, noises, samplers), here still in the company by Ettore Salati (guitars) and Bobo Aiolfi (bass). Decalogue of Darkness is divided into ten chapters which investigate the darkest corners of the Daal sound universe, a concept album whose underlying theme is the sonic atmosphere, sometimes darker and more decadent, others more romantic and delicate, with a level of very high compositions that makes this work the most mature and complete of the group. The Decalogue opens with "Chapter I" that envelops the listener with atmospheres full of pathos and mystery. Mellotron and keyboards weave a seductive sound plot, but at the same time anxious and horrifying, made even more dramatic by the menacing piano chords, Salati's guitar and Aiolfi's bass give rise to an obsessive circular flow with incisive and magnetic passages: even the video of this first chapter traces the cultural obscurantism of the "dark ages", staging a parallel between medieval and contemporary society, with inquisitorial processes, osculum, diabolical orgy, blasphemous rites, human sacrifices and macabre dances. "Chapter II" is a suite of sixteen minutes musically divided into two different parts: The first is almost a chamber piece: which takes shape between sinister noises and distressing sounds: a dark celebration that leaves moments of great emotional tension. The second fraction it is a rhythmic jazz rock explosion in which all the musicians manage to carve out an important space, the pace dictated by Guidoni is imposing and decisive, the sound architectures of Costa are based on an eclectic prog, which amalgamates obsessive "Goblinian" passages. "Chapter III" is the most dreamy episode of the album, a short but poignant instrumental, that with tumultuous symphonic cues alternates delicate melodic brackets. The significant work of Mellotron brings out the most twilight, melancholic component of the Daal sound that, accomplices the violent rhythmic accelerations and guitar bumps, moves towards purely Nordic atmospheres (Anekdoten, 'nglag'rd...) "Chapter V" is a terrifying ballad that excites and scares in equal measure. The ancient acoustic sounds that enhance the song show the spiky gothic features of "Suspiria", while the dark electric textures venture into the dark territories beaten by Devil Doll in "Dies Irae" . To tone down the tone is "Chapter VI", with majestic symphonic openings and liquid solutions that let appreciate the great work of Costa and Salati, respectively on the piano and the guitar, and the rhythmic solidity of the couple Aiolfi / Guidoni. The disturbing "Chapter VII" is articulated around an obsessive and hypnotic circular motion, that makes so much "vintage italian progressive horror music". The blows of punches at the door underline unusual rhythmical lines that emphasize the cinematic nature of the piece. "Chapter VIII" falls back into the murky Daal sound nightmare. Pain and anguish are dripping from every single note with such power as to annihilate the listener, and suck him into a tormented vortex, pitch black and scary as the worst of all possible hells. A creepy sound experience! "Chapter IX" deals with darkness with elegant romanticism. The poignant melodies of the piano play the sound verses that lead to the grandiose epilogue of Decalogue of Darkness. "Chapter X" is the final Magnus Opus, with more than ten minutes of progressive seasoned by breakaways and breaks. Repeated arpeggios, melancholic agreements, solemn openings and sudden rhythmic turns determine the worthy conclusion of a work of undeniable imaginative power.
minus | 5/5 |


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