DECALOGUE OF DARKNESS

The team of David Guidoni and Alfio Costa, better known as the musical duo DAAL in prog circles have been captivating the progressive rock community ever since they unleashed their debut "Disorganicorigami" back in 2009. The band has always dabbled in the visionary fusion laced possibilities of progressive space rock and classical music mixed with ample doses of electronica and decorated with dark experimental elements which makes them stand out from the crowd. After a four year absence from the scene after their lauded "Danced Of The Drastic Navels," DAAL is back with not just one new album but TWO! These two albums stand separately from each other with completely different approaches but complement each other quite well. Whereas "Navels Falling Into A Living Origami" is the more experimental of the two and tackles a fifty minute continuous stream of sound that constitutes a mere track and looks more to the future than past glories, DECALOGUE OF DARKNESS on the other hand is more in the classic DAAL sound and less experimental.

This one was designed to have a vintage sound that has less instrumentation than its counterpart. While "Navels Falling" has a total of eight musicians on board, DECALOGUE OF DARKNESS is more basic and only has four which finds Alfio Costa on keyboards and mellotron, Davide Guidoni on drums and percussion, Ettore Salati on guitars and Bobo Aiolfi on bass. While not technically a single track album, the music also has a free flowing effect that connects all the tracks and in this case there are ten untitled tracks that serve as subdivisions for the overall concept of a descent into darkness. This album was described to me as a return to the sound of "Dodecahedron" only without the experimentation, so in effect this is a stripped down, bare bones type of DAAL album that finds simplicity in its quartet played format that takes a no nonsense prog rock approach. As usual, everything these talented perfectionists touch turns to gold since despite the overall simpler setting, the band manages to perform another excellently produced space rock. This one has a lot more presence of guitar than "Navels Falling."

DECALOGUE OF DARKNESS stands out from other DAAL albums in that it implements the mellotron as the main instrument and is distinguished by many of the subtleties that the instrument provides. While the mellotron has jumped to the forefront with its dominate role, the guitar and bass offer unique counterpoints as well with the jazzed up drumming workouts the perfect complementary effect to create some of the coolest proggy workouts in the genre. This one is entirely instrumental unlike "Navels Falling" which found a short vocal performance towards the end of its run. DECALOGUE has a long running time of nearly 71 minutes but provides another escapist's prog paradise for those who like lengthy progified jams that simmer in space rock mode and have occasional outbursts of heavier distorted action to offer some contrast. While most of the tracks are shorter in length, two extend past the ten minute mark with "Chapter II" hitting the sixteen minute mark.

DAAL has established itself as one of the best underground prog bands on the scene today that maintains an attachment to the traditional sense of the genre but yet manages to find its own niche in a modern day world. It's astonishing that while many bands take a decade or more to create a followup album, these guys conjured up not one, but TWO brilliant albums to bring about in the year 2018. Which of these albums any particular listener loves more will depend on taste. For those who prefer a darker and more experimental approach to the electronically induced space rock that DAAL dishes out, then they will prefer the "Navels Falling" album (which i do) but for those who love a more vintage classic sound that eschews the eccentrics then DECALOGUE OF DARKNESS will be your ticket to that spaced out proggy rock bliss. Any way you slice it, DAAL remains one of my favorite contemporary prog bands for good reason. They always deliver the goods on a totally professional level with beautiful melodic motifs dressed up with all the right prog and spaced out touches. Another winner for DAAL.

Italian team of ALfio Costa and DAvide Guidoni are back with what is BY FAR their greatest contribution to prog world. If you get a chance to see the AMAZING video presentations of their music (on YouTube), do so. As a matter of fact, all of the songs here sound and feel as if they should companion videos. (Maybe they do!) The band is definitely expressing their curiosity with the dark side of the cosmos. I want to add that the production values on Decalogue are exceptional: the sound quality is incredible and the CD artwork is one of the best I've ever encountered--mediæval-inspired art perfectly matched to the songs and subject matter and simply gorgeous!

1. "Chapter I" (6:00) with or without the accompanying video (footage from the 1930 Swedish film Häxan) this is an amazingly mature and perfect prog instrumental. It opens with simple arpeggio soon joined by several layers of keys (including Mellotrons) before the drums and bass join in. Even into the second minute we're still in the intro. Around 1:30 we finally get the establishment of the foundational groove--and it's a good one! The full, lush layers of keys and guitars are pretty steady while the bass and drums are very busy. At 3:30 things break down leaving bass, piano and drums to duke it out until the re-establishment of the driving groove. This is awesome! So much to listen to! So many instruments adding their little but important input! Then things stop and the final 35 seconds are spent with a kind of solo bassoon dirge. Definitely perfect soundtrack music! (10/10)

2. "Chapter II" (16:25) opens with household noises before ominous minor key piano, Mellotron and tympani join in with a slow death march. Piano, bass, and Mellotron try to run counterpoint to each other but it just doesn't work for me--the 'tron does a poor job of trying to substitute for orchestral strings. Then fifth minute's near-disturbing controlled cacophony plods along too slowly; this may have worked at a faster pace, or without the militaristic drum backing. Soft, delicately played sections such as the one in the second half of the seventh minute work well--and I love the introduction of 'tron voices in the eight minute--but then the new "upbeat" section at the beginning of the ninth minute is just too incongruous, too inconsistent (though in and of itself it's a section of very nice instrumental performances). Just before the ten minute mark things pause while a Frippertronic guitar holds his notes, then things reconvene to continue the upbeat section with the guitar become more distorted and aggressive a minute later. The fourteenth minute is better, but the brief return of the descending scale chord progression in the sixteenth minute is a disappointment, and the soft single instrument (synth flute) outro (as usual) is anti-climactic. After a half-dozen listens to this one, I am no more enamored or esteemed of this song than my first lesson. It's just too scattered and lacks engaging melodies and chord progressions. Even the drumming seems odd and often irritating on this one. (8/10)

3. "Chapter III" (4:24) uses two alternating themes throughout, one quite simple and sparse with slowly played notes from piano and guitars, the other a driving groove more lush and full with Mellotrons and full rock instrumentation. There is quite a familiar early-ANEKDOTEN feel to this music. Nice melodies and excellent sound and instrument construction. (9/10)

4. "Chapter IV" (6:07) several rather dissonant instrument lines are woven together for a while before finally coming together at the end of the second minute. The drumming is quite brilliant. There's quite an early-KING CRIMSON feel to this one. The excellent guitar lines are very Frippian, very mathematical--even in the extended bird- accompanied outro over the final minute--and the Mellotron is quite prominent (maybe too much so), but it is the drums that take top honors for me on this one. (9/10)

5. "Chapter V" (4:49) another song that opens with some brilliantly creative sound and instrument choices woven together. It doesn't feel as if it's going to work, as if all of the odd sounds are going to shred the song (or my ears) until drums, bass (fretless?), keys, and guitars finally settle into a groove driven by an eight-note melody repeated well into the fourth minute before things "fall apart" and a post-apocalyptic chaos of disorganized percussives ensues until the final note. (8.5/10)

6. "Chapter VI" (5:04) opens as an emotional grand piano piece, soon accompanied by acoustic guitar arpeggi and soloing electric guitar, but at 1:05 the prog band bursts in, giving us a glimpse of what will soon be established. Lots of Mellotron and Robert Fripp "Book of Saturdays" guitar soloing behind, within, and in front. At 2:45 the addition of steady drums, bass, and a chord-playing electric guitar give the song a heavier sound as a lone synth takes over maintenance of the melody line. Once again, the final section is a quiescent single instrument (lead electric guitar) softly soloing into the sunset. (9/10)

7. "Chapter VII" (4:24) opening with bass, cymbols, and discordant piano chord being arpeggiated while while fuzzy electric guitar chord rises to the fore (this is familiar from previous DAAL songs) but then at 1:14 everything falls away save for flanged cymbol play and a whole new, gentle and pretty theme is established. This is quite beautiful! Mellotron "flutes" in one of the leads as a weave of several instruments keeps this section going until it begins to fracture and fall apart in the fourth minute. Lots of door- or wood-knocking (like someone trying to break out from inside a coffin) filling the background as the discordant opening theme returns and takes us to the end. Cool song! (9.25/10)

8. "Chapter VIII" (8:35) opens with a Russian-like chord slowly arpeggiated by the lower end of the piano (and later by the Mellotron) while cymbols and right and of piano play at something else. This sounds a LOT like Javi Herrera's KANT FREUD KAFKA work on his 2014 album No tengas miedo--especially the songs "Antiesis" and "Hombre." Add Fripp guitar and flute to the slow palate and we still have a KANT FREUD KAFKA soundtrack feel. At 3:05 drums, bass, and guitars condense and Mellotron takes over the lead to create a rather eerie section. Again, great drum play through out this song. At 6:12 the heavy section ends and the piano-based opening section begins to repeat itself--though it shifts this time into acoustic gentle guitar strumming with and Fripp lead carrying us into the final minute and then solo "harpsichord" to finish. (8.5/10)

9. "Chapter IX" (4:18) pretty piano arpeggio with reverse electric guitar lead playing just beneath open this song. Near the minute mark the guitar drops out and the piano completes a full bridge by itself. When the "verse" picks up again the piano and reverse guitar are joined by keyboard wind section (flute, oboe, bassoon) to weave in an alternate melody. At 3:11 we again get a break for the solo piano bridge but this time no one rejoins him as he plays improvisationally to the song's close. Pretty song. Simple and succinct. Like the second verse the best. (8.75/10)

10. "Chapter X" (10:21) piano and gently plucked electric guitar with symphonic cymbol play cover an almost HARMONIUM-sounding opening three minutes before the full band kicks into a really beautiful, steady, emotional prog instrumental--one in which, again, it feels as if a story is being conveyed. Brilliant stuff; definitely the most melodically engaging song on the album. (10/10)

The engineering and sound production are impeccable--it does NOT get better than this--and the instrument selection and combination throughout the album is creative and compelling, with clarity and distinctiveness to all instruments no matter how many layers DAvide ALfio use in construction. Perhaps there is a little over-use of Mellotron and Fripp guitar noodling.

Five stars; a masterpiece of modern instrumental progressive rock music.

After 4 years of silence, the dynamic duo of Davide Guidoni and Alfio Costa , known as DAAL have reappeared with a couple of albums, Decalogue of Darkness and the Navels Falling into a Living Origami, two more monuments of modern progressive experimentation that stretches the sonic boundaries once again. This is not neo, symphonic, or RPI but a rather strange brew of synthesized electronics, percussive propulsion and dreamy configurations that surely define, after a lengthy and high quality discography, their own place in the progressive music universe. Davide is one of the premier drummers in the world, a masterful craftsman who has adorned many significant Italian prog albums, while Alfio has made his name with Prowlers and Tilion. Kind of fitting that I got my ears honed to this on Halloween, as its quite a fitting soundtrack to the yearly goblin-laden event.

Decalogue of Darkness offers up quite a panorama of mind-music compositions, laced with imagination and substance, the dynamic duo adding guitarist extraordinaire Ettore Salati (RedZen, Soulengine, The Watch among many others) and Prowlers alumnus Bobo Aiolfi on bass to the mix. The entirely instrumental work has strong melancholic tendencies , at times eerie and spectral, yet always on the verge of experimentation. There are some definite King Crimson moments everywhere, with vast mellotron swaths that breathe dense clouds into the forlorn piano musings, deft cymbal work that rekindles images of vintage Bruford and the guitars often Fripping amazing as on the blistering track Chapter 8 . Wow!

The adventure begins with the masterful Chapter I , a heady, mellotron-drenched, bass-infected introduction, expertly propelled by manic drumming and sensitive percussion. The guitar slashes are overwhelming , the intensity raw and powerful. A better soundtrack ouverture is hard to come by. Just plain brilliant! The stage is set for a wild hour of extravagant creativity and artistic genius. The massive 16 minute + Chapter II is more dissonant, obscure and eerie, the colossal mellotron leading the way through a maze of sonic corridors, densely cinematographic and laden with furtive angst. The tinkling piano surges ahead amid the chaos while the arrangement remains confrontational, very much in an Anekdoten -like configuration, with occasional Twilight Zone chime/tick-tock noodlings. The densest and most complex piece on the recording, it requires patience and attention to detail. The second part halfway in is even more spectral, cacophonic and tumultuous, as Davide ransacks his drum kit along the way, a poly-rhythmic octopus given free reign. The under-pinned Frippian guitar licks are doom-laden and acerbic, once again we are reminded of classic Larks Tongues-era KC, ultimately leading to a stunning Arabic tinged electric guitar solo that keeps on giving. Gargantuan finale, explosive mayhem, call it what you want , this is absolutely awesome. The soft ending is unexpected.

Chapter III keeps the pedal to the floor, at least in terms of mellotron dominance, unabashedly serving up massive windswept waves of sound, the fury suddenly abated by gentle servings of acoustic peace where the mighty 'tron shows both its grace and pomp. The cymbal work is noteworthy, the rolling bass figurines etched within the groove, but the big white keyboard remains firmly in control. The contrasts between serene and explosive are truly appealing .

Turning into a rockier expanse, Chapter IV gets a full-on King Crimson disguise, as Davide is killing it on his kit, a fine observer of Giles and Bruford, Ettore ripping (Fripping) hard and fast, while Bobo keeps it all in play. Alfio's keys remain firmly entrenched in mellotron land. This is another awe-inspiring and intricate piece of music. Chapter V delves more into psychedelia, what with the odd swirling guitar licks setting up a very defined groove, well propulsed rhythmically and sonically dense. The trick here is how it suddenly veers into an uncomfortable numbness (sorry Floyd!) and belltolling kind of apocalypse. Chapter VI offers a return to almost normal sounds, the axe carving a luscious melody that stands strong and true, the piano acting as an accessory to the crime, though interferred by more mellotron cascades, but with a KingC meet PinkF feel that is overt and obvious. Love this immensely as its the most accessible and instantly memorable track on the disc. The outro is gently divine!

The next Chapter is the magic 7 and it reinvents the spooky sense earlier, the piano playing Twilight Zone like motifs once again, with brash guitar slashes helping the mood along, evolving into pastoral themes where the flute mellotrons reign supreme. The surreal arrangement then veers into effect-laden mayhem that really elevates the sense of doom and gloom succesfully. The Chapter VIII is a highlight event, a sprawling piece that showcases the Crimsonian elements that continue to define modern rock music fifty years later, the sacred union of colossal orchestrations (i.e Mellotron), the supple acoustic guitar ornamentation that also relies on technically inspired electric phrasings, bruising bass guitar underpinnings and a delirious world clas drum exercize. Disturbing, confrontational, nervy, on the edge of painful, the listener is thrown on a roller coaster of emotions, with contrasting chimes, elegance and medieval musings. Scary! By far the ultimate track on thsi masterpiece. The accessory Chapter 9 has Alfio caressing his ornate piano in dreamy fashion, drenched in fabulous mystery and reverie. This is all restraint and reflection, a celestial , cristalline moment amid all the confusion. Like my pal BrufordFreak stated, « pure and simple »! Amazing!

The finale is an epic 10 minute composition that encompasses all the elements that highlight DAAL's creative juice. This is what modern prog music should sound like in the hands of uncompromising artists. Beautiful guitar arpeggios , dreamy piano sensibilities and luxuriant percussive rhythms, that swell into a masteful Ettore Salati guitar romp that hits all the emotional buttons, as the mighty mellotron elevates the track to absurd heights , a slight nod to Yes' ''Soon oh Soon '', before veering off into the murky, dense and overwhelmimg sunset. Davide once again pushes the enveloppe with mythical prowess. In awe, I am!

The cover art is utterly sublime and very descriptive of the sounds generated by the band, a serious masterpiece of prog which will delight many fans. This is what modern prog music should sound like in the hands of uncompromising artists.

5 asteroids of genius

This is the other new release from the contemporary Italian masters DAAL. Whereas "Navels Falling into a Living Origami" consists of a single 49-minute piece of music, "Decalogue of Darkness" is a 71-minute instrumental prog album divided into ten chapters without separate track titles. This time all music is composed by Alfio Costa (Mellotron, Moog sub 37, piano, synth and samplers). Davide Guidoni handles drums, acoustic percussion, noises and samplers, and the duo is accompanied by guitarist Ettore Salati and bassist Bobo Aiolfi.

I can't say this would be anyhow less inspired album, but personally I prefer "Navels" which feels more like an adventurous journey and which in the end seems to have more variety in the soundscape. Mellotron is very central in "Decalogue", undoubtedly making the listener's associations to the early King Crimson even more evident than what DAAL's originality would deserve; despite the Mellotron and all the 'Crimsonesque' details there may be, also this album has a unique, timeless personality instead of copying some music made over 40 years ago.

For those wishing for a track-by-track approach I advice reading especially BrufordFreak's long review. As funny as it feels to say out loud, occasionally I feel this album is relying TOO heavily on the familiar, thick Mellotron sound. For example Chapter Five starts delicately in a way that reminds me of Popol Vuh (Hosianna Mantra era) but then it all returns to the same old 'tron thickness. In my opinion the best things here are more spacey, acoustic moments (such as 50% of Chapter Six, and Chapter Nine completely) without the Mellotron. Also "Decalogue of Darkness" is clearly meant to be listened as a whole, but the 10-part form makes it possible to return to one's favourite parts much easier than on the one-part "Navels". The best track on its own is the second longest, Chapter Ten (10:20). It's "the most melodically engaging" as BrufordFreak points out.

Even though I didn't quite find the similar enthusiasm to this album as the three preceding reviewers (or as I myself had for "Navels Falling into a Living Origami" some weeks earlier), I can sincerely agree on its artistic value. If you're fond of dark instrumental prog featuring lots of Mellotron, this is EXACTLY the album you want to have. The 12-page leaflet features intriguingly morbid photographs to accompany the dark-toned world of this music.

There are great news for the Daal, one of the best realities, at this moment, of the Italian prog: there are as 2 new records for the group of the keyboardist and genier Alfio Costa, also known for the activity with the Prowlers, and drummer Davide Guidoni, here helped by guitarist Ettore Salati and bassist Bobo Aiolfi. It is "Decalogue Of Darkness" and "Navels Falling Into A Living Origami": they are, in reality, two very different but complementary works that demonstrate the eclecticism and the wide range of views of the Daal. This "Decalogue Of Darkness" is linked, in some way, to the previous things and, in particular, to an album like "Dodecahedron" while the other is more experimental and less conventional but no less valid. "Decalogue Of Darkness" has a solemn and regal atmosphere that will make the symphonic lovers happy. There is a great deployment of keyboards: those who love the sound of Mellotron and the vintage settings will find bread for their teeth. From the cover we are projected into a dark and gothic universe populated with shadows. We are facing a thick work that could be the ideal soundtrack of a horror and esoteric script of the '70s as "Il Segno del Comando". The cd is divided into 10 chapters all without name, that lead us into a maze from which there is no exit. The interplay between the musicians is perfect: Alfio Costa's elegant and evocative keyboards are well accompanied by Davide Guidoni's jazzy drums, while the "floydian" guitar embroidery and the pulsating bass contribute to enriching the sound. The highlight of the disc is the second chapter, over 16 minutes long: the initial part, introduced by the piano and the mellotron, immediately immerses us in an ancient and gloomy dimension, where untold rituals are performed in ruined castles. Then the sound becomes imposing and magniloquent to then fall back towards quieter and more mysterious sounds and then continue again towards more frenetic atmospheres: the ending is stupendous and horrifying. But this is a feature that we also find in the other chapters of the disc. The beginning of the last chapter is very evanescent and cosmic: I came to mind the Tangerine Dream period "Phaedra" and "Rubycon": then the beautiful guitar of Ettore Salati paints poignant embroidery of atmosphere while in the second part the music becomes obscure and evocative. "Decalogue Of Darkness" keeps on excellent levels in all of its 71 minutes duration and confirms the whole Daal class.

After some albums much appreciated by critics and audiences DAAL Alfio Costa and Davide Guidoni come to the seventh cd, with their instruments armor (including a celestial Mellotron !!!) and the contribution of some good collaborators like Ettore Salati and Bobo Aiolfi (guitar and bass) creating a work that draws heavily on the dark and evocative prog.

"Decalogue of Darkness", in fact, is characterized by timbres full of pathos, suffering, darkness and magic, from the first bars of the opener "Chapter I" we enter this musical world with a slightly obscure tone, that transmits a not indifferent tension, and if "Chapter II" brings to mind the sound of the great Italian prog of the past (Like Banco and Balletto di Bronzo) the following traces maintain a certain homogeneity, showing a band that keeps and indeed amplifies excessively the quality already shown in his previous works.

The master stroke arrives with the grand finale: "Chapter X" - a 10 minute mini-suite that may represent the DAAL masterpiece. It is a symphonic gem of rare beauty, played on soft tones in which it is possible to glimpse the Genesis and Pink floyd, the imaginary ones of "The Lamia" and "Echoes" to be clear, a marvel that is open by slow piano notes strings in the distance and guitar arpeggios that feed the pathos, then enter bass and drums and develops the main theme that will be resumed later, between the continuous and numerous proposed variations, accelerations, airy openings and much more Really a beautiful composition, DAAL not only do not disappoint, confirming at high levels and deserving more and more to be counted among the most interesting Italian reality today, but perhaps they also manage to reach their creative peak.

The purchase of "Decalogue of Darkness "is therefore strongly recommended, both for those who have already consumed the previous CDs, and for those approaching their music for the first time.

For over a decade now, the duo of Italian multi-instrumentalists Davide Guidoni and Alfio Costa have been honing a distinctly modern sounding mix of dark electronics, doom-laden symphonic grandness, senses-shredding avant-garde experimentation and neo-classical sophistication under the Daal banner, each new release consecutively raising the bar even further for their always high-quality and intelligent works. But 2018 has brought not only one, but two superior releases from the pair (or three if you want to include Davide's superb electronic side-project B-Rain's `Echoes from the Undertow' CD as well!), and rather than being a double album merely split into separate discs, they are instead two completely stand-alone works that hold their own unique sounds and identities, even if both are instantly recognizable as Daal. The first is `Decalogue of Darkness', and it is the most lavish and darkly articulate defining symphonic musical statement so far from Costa and Guidioni.

`Decalogue...' is a collection of ten fully instrumental shadowy symphonic pieces simply labelled parts I-X (although they are separate pieces, not all flowing into each-other), and in many ways it proves to be Daal's love letter to the glorious age of grand vintage progressive rock, just grafted to a heavier modern sound and without ever sounding like a tired retro throwback. It also joins the ranks of those particularly cherished albums that Mellotron freaks absolutely worship - Schicke Fuhrs Frohling's `Symphonic Pictures', Quarteto 1111's `Onde, Quando...' and Anglagard's `Epilog' - all step forward please! - seeing as how `D.o.D' is practically slathered in endless washes of the instrument! You want to completely drown in the 'Tron?! Step right this way...

A spectral pantomime of eerie electronic tip-toes patter around `Chapter I's infernally searing Mellotron strings, grinding guitar blasts courtesy of frequent Daal collaborator Ettore Salati of Redzen/SoulenginE/Ex-The Watch, Alfio's stalking piano, slithering bass from Tilion and Prowlers musician Roberto `Bobo' Aiolfi and Davide's bashing drum menace, this intense opener being very Goblin and L'Albero del Veleno-like indeed!

Hmm, in prog-terms, is just over sixteen minutes long enough for a piece to be considered a true epic?! Well, either yes or no, `Chapter II' is exactly that, and here the duo offer an elegant showcase of grandiose Mellotron themes all serenading each- other in between bursts of Anglagard-esque strangling n' twisting guitar runs and a touch of King Crimson-like ominous majesty. A pounding oppressive beat over ghostly piano and the dirtiest of scratchy Mellotron reeks of Italian occult legends Jacula/Antonius Rex at the start, the icier reflective moments remind of melancholic acts like White Willow and Landberk, and the entire piece takes on a crushing, overwhelming intensity...and just when you think it's winding down, they bring it all back for a final feral storm of wailing guitar n' Tron noise that would make King Crimson envious - phew!

The shorter `Chapter III' could easily have popped up on an Anekdoten album with its downbeat piano interludes constantly blasted by defiant Mellotron bursts and brisk up-tempo sprints, the suffocating `Chapter IV' could be an `Islands'-era Crimson outtake with its skittering percussion rattles and creeping bass murmurs, and `Chapter V' is a mournful introspective theme (one of the strongest on the disc) that sounds like a lost Giallo horror film soundtrack from the Seventies.

Achingly beautiful piano reflections and heartfelt guitar ruminations are confronted by torrid Mellotron slivers throughout `Chapter VI', slab-heavy guitar riffing, vacuum-like distortion and jazzy discordant mania is met with ethereal ambient synth breaks throughout `Chapter VII', and there's an aggressive brooding menace that permeates all of `Chapter VIII' (just listen to that putrid mud-thick bass vomiting throughout the middle!). The ghostly ballad `Chapter IX' is dreamy and shimmers with unease (and nice that the band keeps the piece very intimate), and ten-minute closer `Chapter X', with its cross of regal guitar strains, reflective synths and achingly melancholic piano fleetingly calls to mind classic era Genesis and brings a sweeping orchestral-like magnificence (with some brief tasty up-tempo bursts in the middle too), and it's a relief that the duo resist the urge here to make a lot more racket and violence.

Although it probably didn't need to run for seventy-one minutes, and some listeners might ask for the first time `Can there be too much Mellotron?' (response from the prog masses likely being any combination of `No!/Heathen!/Off with his head!'), there is no denying the sheer power and richness of refinement throughout `Decalogue of Darkness'. Some may find the first half so blustery and bombastic that it proves overwhelming, but the second reveals itself to be even stronger with some deceptively lovely and incredibly strong musical themes rising up throughout. All together though, symphonic prog works don't come much more luxurious, inspired and crowd-pleasing than `Decalogue of Darkness', and it's another superb addition to the Daal catalogue.

Four stars.

The Italian progressive scene is in excellent condition, 50 years after its first musical explorations! Daal is a duo, keyboardist Alfio Costa and percussionist Davide Guidoni and represents a singular face of Italian progressive music. A sort of synthesis between symphonic , dark, neo-romantic prog with hints of krautrock. Their new album came out in October 2018, is presented in a digipack accompanied by a booklet that offers dark photographs, in harmony with the music. "Decalogue of darkness" offers a less experimental music compared to previous albums, in balance between the symphonies Italian and Scandinavian. Ten pieces follow each other offering an atmosphere marked by the anxieties of time. Ettore Salati on guitars, and Bobo Aiolfi al Basso adapt perfectly to counterpoints, and to the dynamic and nervous rhythms of the album. The first two songs start slowly, then the music seems to take strength, accentuating the dynamic style of some productions of the '70s such as Bronze Ballet or B.M.S. The third song alternates sequences reminiscent of Anekdoten and very intimate passages, which leave the initiative on the piano. Same intention for chapter IV with the mellotron that seems to lengthen the space-time line with the past, Costa's compositions are rich and melodious, never banal and worthy heirs of the great school that was. The realization is perfectly mastered with a balanced sound production, in which every nuance is audible. Each of the ten chapters offers a special shade with refined stylistic forms. We are closer to a classic quartet than a rock band. And ten movements of a magnetic density, sometimes hypnotizing, as if the mellotron began to penetrate into our flesh to implant the other instruments played with subtlety and inventiveness. The progressive remains the great art since the 70s and owes its splendor even to groups like the Daal

DAAL is a project from Italy, headed by core members Alfio Costa (keyboards) and Davide Guidoni (drums). They are having a very productive phase in the back. With the result of two studio albums, plus a solo project produced by Davide, which he recently released under the moniker B-Rain. When necessary, while acting like an entire rock band, there is some exquisite support available due to Ettore Salati (guitars) and bass player Bobo Aiolfi. According to the album title it may go for a dispute over religious themes, though lyrics aren't available, for the simple reason that this is completely instrumental. Obviously evaluated in the eye of the beholder. The booklet pictures are going for a strong cinematic orientation, including exorcism, horror, mysticism and similar, just in the vein of fellow countrymen Goblin maybe.

In any case, when listening to 'Decalogue Of Darkness', you are experiencing an eclectic symphony across 10 chapters, which means a running time of about 70 minutes in total. Chapter I turns out to be a wonderful opener. Alfio Costa's effective mellotron input strikes immediately. A somewhat bittersweet lift-off, very nice main melody. Corresponding to the visual concept DAAL are providing a rather dark mooded sound, though not really depressive anyhow. Davide Guidoni puts out all the stops too, with diverse gradiations of rock and jazz. He's a prolific drummer for sure. You will find variations such as deeply moving parts dominated by symphonic patterns, furious interplays, heavy rocking turns as well as melancholic acoustic guitar and piano driven interludes. I would especially point out Chapter X as a very profound partition. Well, can't name another prog album yet which is that blatantly mellotron drenched. Something special, bravo!

"TONS OF TRONS!!"

This album was my first musical encounter with the Italian prog formation DAAL, I was very curious to their sound after I noticed so many euphoric words about their two 2018 releases on the Internet. Before listening I visited DAAL its amazing website and watched a serie of music videos with tracks from the Decalogue Of Darkness album. Soon legendary medieval Dutch painter Hieronymus Bosch came to my mind: a dark, horrifying and macabre world, full of death, weird creatures, devils and religious symbols. These often dark and ominous video images match with DAAL its music on this album: lots of melancholical atmospheres that frequently alternate between dreamy, dynamic accellarations and bombastic eruptions, embellished with omnipresent Mellotron violins. These musical contrasts generates a lot of tension and turns listening tot his DAAL album into a very compelling experience. During my listening sessions often the early work of Swedish prog band Anekdoten come to my mind. This seemed no coincidence, I asked drummer Davide Guidoni about that, he answered that keyboard player Alfio Costa loves Swedish band Morte Macabre ' featuring two Anekdoten members!

Anyway, I am delighted about this second 2018 DAAL album, also due to the outstanding and prolific ex-The Watch guitar player Ettore Salati (also great work in The RedZen) his contributions as a guest musician, again, after two previous appearances in 2011 and 2014. He easily switches from sensitive to agressive, and succeeds to give the music an extra dimension with his varied and moving guitar sound.

Although DAAL plays on a very good level during the ten tracks, I would like to mention my highlights. Beautiful twanging guitars and Mellotron violin, howling electric guitar runs in the dynamic, ominous and compelling Chapter I. Warm interplay between tender piano and glorious Mellotron violin and venomous Fripperish guitar play in a heavy climate in Chapter II.

A slow rhythm with the focus on a mindblowing 'gentle chainsaw guitar sound' in the vein of Fripp in Chapter IV.

In Chapter VIII a splendid build-up, from dreamy with piano and Mellotron flute and violin to a bombastic eruption with Mellotron violins (with echoes from Museo Rosenbach), powerful drum beats and heavy wah -wah drenched guitar riffs (goose bumps!), in the end subtle harpsichord and twanging guitar, what an awseome composition!

But my favourite is the final Chapter X, a cascade of flowing shifting moods, from the tender piano intro and slow rhythm with howling guitar (evoking Andy Latimer his 'bluesy emotion') to a break with again that Fripperish 'gentle chainsaw guitar sound' and an accelaration with a propulsive mid-tempo, a dynamic rhythm-section and a lush Mellotron sound, concluded with short Mellotron choir drops, wow!

Although I am impressed by DAAL its first 2018 release, this second 2018 DAAL release is my cup of tea: more in the tradition of Seventies symphonic rock featuring awesome work on the guitar and loaded with The Mighty Tron, what an emotional experience, highly recmommended!

The first edition of this review was recently published on the Dutch progrock website Background Magazine.

DAAL have become a very complex and sophisticated machinery. The last goal of the duo, composed by the keyboardist Alfio Costa and the drummer Davide Guidoni, is a double publication: two albums built on two styles opposite each other. "Decalogue of Darkness" collects ten chapters, and already from certain details you can see some features similar to their CD "Dodecahedron" (also divided into chapters). The cover, medieval and alchemical, introduces us in the visions evoked by vintage sounds of Alfio, the percussive drawings by Davide, the guitar by the eclectic Ettore Salati and the precise bass by Bobo Aiolfi, the faithful companions of the duo's travels, the assumptions for the masterpiece are all there. "Chapter I" is a dark abyss without end, The music is a kind of noir soundtrack that recalls old horror movies, symphonic, elegant, impressive, and in this context the Mellotron stands out flying high. Steps on a wooden floor, a metronome, a dim candle in the darkness, the elegance of the piano, introduce us to the masterpiece of the CD "Chapter II" a small suite of 16 minutes, where the progression from piano to forte is bursting out, from the gothic mood you go to a typically progressive ride, very seventies, reminded me of something of the old Italian progressive glory like Goblin or Balletto di Bronzo. The imposing sounds of "Chapter III" with a Nordic flavor, with powerful guitars and keyboards, represent 4 minutes of absolute lyricism, too few to fully enjoy the melody of this jewel that could recall an Anekdoten ballad. "Chapter VI" offers even serene landscapes, with a quiet feeling, and it almost seems to go slowly drifting, to the soft throb of the drums, after a road up to now uphill. "Chapter VIII" unexpectedly regains body and power with its most outlined symphonic rock textures, superb keyboard mixes and a chilling Mellotron sound. "Chapter X" is the truly sumptuous grand finale, the result of the meticulous screening of the right timbral colorations, of careful percussive choices, of the selection of specific details. The keyboards and the guitars interpenetrate in a scenario that is always and fundamentally symphonic in which the melody constantly manages, in one way or another, to dominate. The music is dreamlike and manages to materialize fantastic mental scenarios and sometimes has the taste of the soundtrack or the musical story. The various musical influences are mixed here in a very personal whole that oscillates between the ancient and the modern. It was not easy to go beyond what was achieved in the previous album discs but the Daal have succeeded in a very elegant way and certainly surpassing this record will not be a simple game.

After 4 years of silence italian Daal return, with two very different CDs, but complementary to their style, the first experimental and electronic, the second most "vintage" with dark and mysterious strokes, as always! Decalogue of Darkness is definitely part of their second soul, the one that gave us that beautiful CD "Dodecahedron" years ago, from which they resume and perfect the style and the compositions. We find ourselves in the presence of a cd divided into chapters (Like the Dodecahedron !!) this time 10 chapters, without any title or subtitle. this suggests that this CD is probably a concept album, and we can guess from the rich artwork that the themes are obscure, decadent, mysterious, almost horrifying, images of the booklet that perfectly match this soundtrack! the first 30 minutes of "Decalogue of Darkness" are sumptuous: From "Chapter I" to "Chapter IV" we probably have the compositional and emotional peak of the group, which had never pushed so strongly into progressive meanders, from the matrix so 'seventies and obscure, while we listen to the disk in the mind pass the images of the Roller's Goblin, the Darwin's Banco, Balletto and Metamorfosi."Chapter VI" draws poignant melodies, while "Chapter VII" is a dramatic nightmare. Perfect sounds, many vintage keyboards, and a very present mellotron, while the rhythm section supports the whole sound frame. The grand finale of "Chapter IX" and "Chapter X" seal one of the most beautiful records released in Italy in the last 10 years. To be reported "Navels Falling into a Living Origami", a second CD released simultaneously with this! - where a unique 50-minute suite shows an unpublished face of the group, with experimental, electronic, sometimes almost new age references, but nevertheless fascinating, from a group that never disappoints!!!

The DAAL are two brains thinking and their cd is one of those destined to fall in love every Prog-lover, as its ruts out scholars of extraordinary beauty notes, all accompanied by a beautiful cover and a booklet with 10 great pictures, that tell the mood of the record. "Decalogue of Darkness" has the magic of the great progressive sound: a magic created by the immensity of Mellotron, moreover it has a symphonic force that makes the 10 chapters truly exciting. Soon we realize that we are in the presence of a formation well above average, especially because the Daal, while taking the most important themes of the sound of seventies, can always be very personal thanks to an explosive creativity supported by an enviable individual technique. The Mellotron that colors "Chapter I", the more than 16 minutes of "Chapter II" marked by brilliant instrumental intuitions, and a final funambulist part, that can remember the best King Crimson of the early days. Impressive changing scenarios in "Chapter IV", which starts quietly and then turns into a progressive explosion ... this song is a masterpiece !!! As always, they are accompanied by Ettore Salati on guitars and Bobo Aiolfi on bass, who perform their work with taste and professionalism. So the Daal, after the extraordinary Dodecahedron, have produced a new creature destined to become one of the most beautiful Italian progressive albums of the last 10 years. Simultaneously with this record, we should mention the release of "Navels falling into a Living Origami", a cosmic suite of over 45 minutes that detects an experimental face of the group, but not less important.

Decalogue of Darkness is one of those records that surely attract people in the world of progressive music. A few years ago I had heard "Dodecahedron" and I loved it, but this is definitely higher !!! Decalogue of darkness includes the best symphonic prog in dark colors of recent times. It is powerful, melancholic, poetic, a pained songwriting, which brings the mind back to the best Italian prog of '70s like Bronze Ballet, Goblin, Banco, the great tradition of Italian prog relives here! "Chapter I" is a magnificent blend of heavy and light, deep melodic mellotrons. The melody has a dramatic pace. "Chapter II" is the suite of the album, and incredibly not at the end of the album! a long articulated piece, which constantly grows up to the final explosion. Epic! "Chapter III" is my favorite, the demonstration of how to write a perfect piece in 4 minutes, without resorting to unnecessary frills. "Chapter IV" is the most "Crimsonian" Daal have produced until today. Mellotron, Frippertronics and a nervous drums seal another jewel. "Chapter X" is my other favorite song, the magnus opus which worthily concludes this record. Alfio Costa, Davide Guidoni, Ettore Salati and Bobo Aiolfi are a perfect combo, with perfect interplay, the result of their alchemy is rainbow of dynamics, which covers the entire sound spectrum, reiterating the extreme eclecticism of the group! In conclusion, an excellent record recommended for those who love good music!

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.

1.5 Stars, An endless fog of mellotron

While it is frowned on to pass judgement on a album after a single listen, when an album is either amazing or awful it does not require too many repeated plays, and unfortunately Decalogue Of Darkness falls into the latter. DAAL have been one of those highly rated bands that I often saw mentioned but never got around to checking out. Given the hype around this album in particular I knew I eventually needed to give them a fair listen.

I can get where the high ratings are coming from, as it fits directly into the mellotron-heavy, vintage Prog that has been very successful for bands such as Wobbler and the All Traps On Earth. However, what this instrumental album severely lacks that the others possess is variety, not just within tracks but between them as well. I can understand why each song has almost the same title as there is so little to distinguish each one from another!

The entire album is mostly mid-tempo, dark but nothing sinister and is driven primarily by the mellotron and piano. There are some more intense secions but nothing I have not heard before. I am struggling to find anything that is really original on this album, it often sounds like the soundtrack to Epitaph on King Crimson's 1969 debut, with a lot of recycled themes that have been done better from many other bands. The only slight exception was Chapter VII which had a pleasant space-rock middle part and was the only highlight and song I can remember from the entire 70 minute album.

There is little else that can be said about the album really, other than it is well produced, makes for decent background music and worth getting if you like your tracks submerged in mellotron. As the album is 100 % Prog I will give it a 2 star rating for this site, but that is the highest rating I can give for this overhyped album. If you want a mellotron-heavy, mostly instrumental masterpiece then I would strongly recommend the recently released A Drop Of Light from All Traps On Earth, which totally outclasses this album. The main reason being is that they have clear changes in composition structure to maintain your attention, and that they go well beyond the vintage-prog sound by adding Magma influences and Avant-Prog unpredictability into their sound. Decalogue of Darkness is very one-note in comparison and to be honest is one of the most boring Prog albums I have ever heard. I was fed up after only 10 minutes of listening, and had to push myself to get through it all.

What drives a musical group to change the skin so often, even publishing 2 CDs at the same time, one the exact opposite of the other? Want to surprise? A strong sense of experimental research? Two souls within the same project? I believe that "Decalogue of Darkness" and "Navels Falling into a Living Origami" (as usual cryptic titles for their records) are all this, but the demonstration that in 2018 we can still again compose excellent music both experimental, both "traditional". To say the true "Decalogue of Darkness" reminds us closely of their previous work ("Dodecahedron") but I feel I can say that the Decalogue is far more inspired, more exciting, perhaps thanks to the mellotron, perhaps the absolutely dramatic and dreamy mood of the entire album. Accompanied by evocative videos (I suggest you visit their youtube page!) The various chapters that make up the work (no title ... only numbers of the various chapters ... as in Dodecahedron!) Are the result of stylistic cohesion, that only the great groups can have. "Chapter I, II, III, IV, VI, X" are the best of the italic matrix instrumental has given birth in the last few years, inevitably recalling the great of the past (I hear the echo of "Darwin", "Ys", "Zarathustra" throughout the album ...) "Navels Falling into a living Origami" is even a single 50-minute suite without subdivisions, a long and slow flow of landscapes, sometimes progressive, often experimental at the edge of dissonance, at the borders of new age and intimate jazz, with an approach to sound that is clearly reminiscent of Floyd post-Barrett and pre-darkside. In the end of this Maelmstrom something happens that is rare in the music of Daal... A part sung! Guglielmo Mariotti (former companion of Guidoni in Taproban) paints a ballad with a macabre text accompanied only by acoustic guitars, how to seal the end of this authentic journey into the unconscious in an almost pastoral way. Decalogue of Darkness ***** Navels Falling into a Living Origami ****

"Decalogue of Darkness" is not a brand new album, but for me is an absolutely discovery, So let's introduce them. What at first seems like a strange band name is easy to explain, because only the names of the two musicians who were responsible for this project from the beginning are dealt with: DAvide Guidone and ALfio Costa. On this album they are supported by two guest musicians, so the line-up looks like this: Ettore Salati - guitars Bobo Aiolfi - basses. First of all, the fine presentation of the digipak appeals. The whole thing makes a very gloomy impression, and that is confirmed by the first sounds. The album consists of ten titles that are simply numbered and are called 'Chapter I' to 'Chapter X'. The Italians offer monumental Symphonic Prog on it, which sometimes comes across as a bit bulky at one point or another. All Mellotron fans should be absolutely thrilled, because it is no coincidence that this instrument is at the top of the list above. Anyone who knows the music of Daal and the other projects of Alfio Costa, knows that this is an elementary part of his music. In addition, Daal has the powerful and varied drumming by Davide Guidoni. But the two guest musicians don't play a subordinate role either, they make important contributions. For example, the former The Watch guitarist Ettore Salati sets some accents, which goes well with the compositions of Costa. There are passages that bring back memories of old King Crimson, but the Swedish Änglagård should also come to mind from time to time.

Great, coherent album that arouses curiosity about the next album.

More spoopy prog with a significant influence from mid-1970s King Crimson from the dynamic duo of Daal? Sure, why not? This is pretty much "Dodecahedron II: Polyhedral Boogaloo", with the album split into 10 chapters (hence the title!). Take Dodecahedron, immerse it in purest Mellotron for a while, and cut into 10 slices instead of 12, and you more or less arrive at this.

Lucky for Daal, Dodecahedron was a pretty good album, with the result that this one is as well. Perhaps a more retro- prog styled approach this time, in keeping with the historical style of the cover illustration, but otherwise we're looking at business as usual for Daal.

Here's an album which, if nothing else, has an accurate title - - although Ten Instrumental Heavy-Symphonic Prog Songs would've been even more descriptive.

I really like the drumming here. Since drummer Davide Guidoni is half of Daal, it's not surprising that he's much more prominent in the mix than drummers usually are. On songs like "Chapter VIII" his kit is cranked up while the listener must strain to hear the guitar (played by a sideman) - - it seems a little odd for rock music. But Guidoni's position in the mix works here because he's not showy. On some Emerson, Lake and Palmer albums it seems obligatory that Carl Palmer have a showcase every so often, whether it's demanded by the material or not (OK, to be fair, the material is sometimes arranged so that a drum solo seems necessary). Guidoni seems content to play second fiddle, so to speak, to pianist/keyboardist Alfio Costa. Costa composed the entire album and even gets a track ("Chapter XI") to himself. Most likely Guidoni shares the drummer's trait of humility (he does get full responsibility for the art direction, though).

For his part, Costa dominates the proceedings but doesn't hog the limelight. Many instrumentalists have been much less central on projects billed as solo albums. But Costa is no Wakeman; Decalogue of Darkness isn't about him, it's about... well, actually, it's not entirely clear what this album is about. The song titles provide no obvious clues, nor does the title or the cover art. Of course, as the cliché goes, the songs should speak for themselves, and that's evidently what Costa and Guidoni intend.

Given that Decalogue of Darkness is entirely instrumental, and that each song seems to evoke a different mood, it could easily be a popularized film score. Adding to this sense is the use, especially earlier in the album, of classical motifs.

Overall, this is a good instrumental album, heavier on the atmosphere than the melody, which is why if I heard randomly-chosen 30-second passage from Decalogue of Darkness, I'm sure I couldn't tell you what song it was from. The exotic "Chapter VII" is probably the best track here, although the 16-minute "Chapter II" is nearly as good and perhaps more representative of the whole.

Decalogue of Darkness is also accessible, à la Trans-Siberian Orchestra, though it's less overtly commercial and has much less guitar. Put another way, those who like their symphonic prog with a bit of metal will enjoy this album, as will prog-rock fans in general. (For what it's worth, Prog Archives users rank Decalogue of Darkness among the best albums of 2018.)

If dark, chilling instrumentals are your thing, check this out right away, because this album is genuinely horrifying (especially Chapters VI-X). I'd never consider this album for casual listening. The best way to listen to this album is at night, alone, in the dark.

I first checked out this album seven months ago after I read the glowing reviews. I was not initially impressed. It sounded interesting, especially the first track, but it did not hold my attention, and I rarely went back to it. When I did return to it, I would usually get bored after the second track and stop listening. I recently listened to it again, (probably my fourth time all the way through), and I have to admit, the album grew on me.

It was late at night, and I couldn't sleep. I was sick of everything I had been listening to, and I wanted to listen to something creepy. So I decided to listen to this album again.

The first few seconds of Chapter I make it clear that this is bleak music. The whole track breathes doom and desolation, and I imagine figures in the dark. The drumming is intense, and the blaring mellotron is unsettling. Somewhere around the halfway mark is a break, where heavy, fatal piano keys begin. Eerie. The piano is used throughout this album very well.

Chapter II is the track that I enjoy the least. While it has an enticing start, I found the repetitive drumming and mellotrons that blare from the 4-11 minute marks to lose my interest. Honestly, the drumming is rather deranged. It's too "out there" for my taste. Thankfully the song get's real interesting around the 12-minute mark, but as a whole, this song is just too "demented" for me to really grasp and enjoy. Despite not really enjoying this song, I can definitely appreciate its artistic value. It almost seems like it is a genuinely "evil" song, (if that makes any sense). I could imagine music like this being played by demons in hell. Chapter II is the reason why I had such a hard time getting into this album, but I would not be surprised if I grow to love this song as much as the others.

Chapters III and IV have their moments, but in my opinion, they only serve to lead up to the truly heart wrenching, bleak, and chilling aspects of the album which begin on Chapter V. I have never heard instrumental music that was able to affect my emotions as strongly as tracks V-X.

Chapter V is an off-putting and demented song that is more than a little creepy. It ends with a bunch of explosions. Chapter VI is a tragic, tear-jerking song, which seems to embody depression itself, I'm guessing the war was lost. And just when you think it couldn't get any darker, Chapter VII begins, and it is exceptionally unsettling; it gives me the chills. Sound effects and eerie knocking sounds make it feel as if a hundred malicious creatures are trying to gain entry into my house.

Chapter VIII dials down a bit, (initially), but gets intense. The drumming and distorted guitar sounds are incredible. I get the impression that I am running through a dark forest, pursued by whatever those creatures were from Chapter VII. Chapter IX returns to the dismal, but incredibly beautiful depressed feeling presented in Chapter VI. The sound effects here are gripping, and the melody is chilling.

Chapter X begins a little lighter than the other tracks and features some excellent mellotron, guitar, bass, and drums interplay. Not only can these artists compose incredible melodies, but they can really play. The final two minutes are pure gold, a superb and fatal ending. Lots of goosebumps...

5 Stars, a masterpiece of prog. I have never heard instrumental music more disturbing, emotional, depressing, and tragic than this. I wonder what images the artists had in their heads when they wrote this.

"Decalogue of Darkness" is the 8th album of this group in duet with a certain Davide Guidoni on percussion , which has released an intimate and very mesmerizing Album sour the name of B-RAIN. This album is actually composed of 10 orchestral pieces based on samplers and other Mellotrons played by Alfio Costa and the various percussions by Davide Guidoni himself; these different pieces, all passing the 70-minute mark, offers a musical adventuree on a post rock sound a little melancholy, with a lot of melancholy, depressive and intimate climates. The mellotron sounds vintage, while the ambient air gives in the ambient compositions with introspection. No voices, just instruments that cut notes to make you go on cold, Scandinavian continents, where each note leads you to reflection, meditation, appeasement. 10 movements in fact that provide a slow and inexorable feeling of relaxation, an impression of wisdom provided by the different melodies. One feels captivated by the sad and intimate sound, cold and icy, while keeping a dose of creativity that allows to recharge de facto, musical oxymoron in fact by the creative action generated.

In short, it is paradoxically with the last two tracks with basic piano support at the beginning that we realize in which universe we left; at this point the piano arpeggio seems to fall from the sky, it's a bit like chamber music while the previous tracks all flirt with the sound generated in its time by KING CRIMSON or ELP; the guitar here much more present catapults our stirrups and other anvils well scattered in the bottom of our ears for a feeling of fullness. An album to listen to in the evening to let you ramble before falling into the arms of Morpheus. Complex and heady, icy and hot as a morning ember.

After a long period of silent work, in 2018 Daal expressed their creativity by releasing contemporaneously on Agla Records two excellent albums: "Decalogue Of Darkness" and "Navels Falling Into A Living Origami". The first one features dark atmospheres and vintage sounds that could recall some seventies soundtracks of horror films. Here the line up features along with Alfio Costa (Mellotron, Moog, piano, synthesizers) and Davide Guidoni (drums, percussion) the guests Ettore Salati (guitars) and Bobo Aiolfi (bass). According to the liner notes, this work is dedicated to the memory of some dear persons that the musicians lost and miss but who are still present in their hearts. The art cover, taken from a 1508 woodcut portraying the devil taking the soul of a dying man, and the pictures in the booklet try to describe the musical content, conceived as "an inner mirror reflecting the dark side of a man with his nightmares and fears"...

Despite the gloomy subject matter and the Gothic art cover, the music has nothing to do with depressing black metal or dissonant passages evoking infernal sceneries. On the contrary, all along the untitled ten chapters in which is divided this long album, the music is always characterised by a sumptuous, symphonic beauty... Delicate, dreamy passages evolve into nervous parts with the rhythm section giving a strong sense of tension while light, soaring melodies alternate with sudden surges of dark, mysterious energy. At times bands such as Goblin or L'Albero del Veleno might come to mind, but this work has it's own originality and deserves a very attentive listening from the very first notes to the last...

By chance, recently, while re-listening to this album I was reading a novel by Gaston Leroux and I stumbled in a passage that in my opinion seems to capture its spirit: "He called out, with all the strength of the sorrow that filled his breast... He called in the way in which you call not upon a living, but upon a dear dead woman, in the hope that she may appear to you. For there are moments when human sorrow does not dread ghosts and when it conjures up shades to press them to its heart, without trembling on the threshold of the great mystery; moments when love would have the dead come forth from the dark and when it is astonished - so loud has been its call - that the spirits do not come and kiss its lips!" (quote from Balaoo, by Gaston Leroux). Well, I think that this music is a kind of powerful call to the ghosts, a lay requiem mass able to stir emotions and even to express a sense of positivity by exorcising the evil spirits of melancholy and sadness.

One of my favourite 2018 albums!