IL CHIARORE SORGE DUE VOLTE

A progressive cousin of Dead Can Dance, this highly original collective of electro-acoustic jesters is quite stunning in their well-thought out approach , combining contrasts within an obvious penchant for baroque and gothic ambiance. Listening intently to this music, one is drawn into a time-warp , as if attending a banquet at a country fair , surrounded by minstrels, jugglers, storytellers and musician-magicians invited from distant lands. The very gothic inspiration fuses vintage period musical instruments (luth, mandolin and strings) , metalloid simulated guitar slashes and loads of Emulator, Korg and Roland machinery. The themes expressed are a wide cross-section of folklore, from the legend of Dunwich, the Egyptian mythological tale of Isis and Osiris, the ancient fables of the Cree Indians to a suite showcasing hindu, viking, japanese and aztec texts . A universal journey in history and geography, the music is a savvy blend of ancient and modern , fueled by the rich voice of Katya Sanna and decorated with a lush tapestry of symphonics, without any soloing per se. Not necessarily an easy listen, but the mood outweighs the use of any overt proggy displays of virtuosity . 3.5 stars for content and style . Could be fun scaring a few Marilyn Manson fans, when they come over for a barbecue !

RPI?

A whole bulk of bands have been thrown in this category by now. At least, with the Italian symph category, one could expect what he was going to listen to.

Now, the casual (and not only) fan who is looking for references on PA will find this band under the melting pot umbrella of "RPI". And might be disappointed (or not, it depends). Actually, this band should be featured in the prog folk genre.

The instruments that are used, the type of vocals (excellent during "Le Pierre Di Dunwich") are totally relating to some medieval and ancient times, totally belonging to the prog folk description.

I prefer this album than their previous one. "Il Chiarore?" offers some diversified music (even upbeat for "L' Incontro") and excellent musicianship. Some songs though really sound mellow ("Viaggio Di Wesakaycak") and could have been skipped from this offering.

Some Eastern feel can be smelt with "Yetima" but frankly this one is a poor track: one could have imagined a bit more depth, but it won't be reached. I would understand that true lovers of the medieval style should like this album.

It offers sufficient facets, fine female vocals ("Izanami E Izanagi") and great musicianship. Only song writing is a bit of a left down. Few moments of exception, little expression. There are some atmospheric and nice ambient parts available like "Rivalsa Di Aki-Gahuk" but these are too scarce to rate this work higher than two stars. Finally it's the same verdict as their debut.

Fantastic Folk album lost in RPI

I'm not a fan of creating national based genres but the RPI team has made a nice work adding rare bands that otherwise would be ignored that has fulfilled it's purpose, the only problem I find is that sometimes a band that shouldn't be in RPI get's added to this category (As most likely happens in every sub-genre).

The case of DUNWICH is a clear example of this problem, their music is clearly Medieval Folk Prog with a few Metal references that has nothing in common with most bands in RPI, but that's not DUNWICH'S fault so lets talk about "Il Chiarore Sorge Due Volte" which is a fantastic album despite the category which it is placed.

The second release of DUNWICH begins with "Ouverture", a beautiful violin and later flute dominated instrumental with a Medieval - Renaissance feeling, a good introduction of what we can expect of the album, something that is more evident after listening "Storia di Ono" that situates us in the Medieval era with the beautiful vocals by Katya Sanna who adds a mysterious touch that increments the beauty of the music.

"La Pietre de Dunwich" continues in the same path, but this time the Folk - "troubadoresque" feeling is blended with a religious facet plus a nice and pompous orchestration, somehow like a mixture of pagan-religious music, extremely beautiful.

"L'Incontro" as the name indicates is the encounter of two worlds, the mysterious Medieval music represented by Katya Sanna that melts with a Heavy almost metallic sound represented by the heavy guitar and male vocals that seem like a combination of IRON MAIDEN and MIRANDA SEX GARDEN with a magnificent keyboard performance by Claudio Nigris, simply delightful.

"Il Viaggio di Wesahaycah" blew my preconceptions about the band, being that I never expected an absolutely experimental track with PINK FLOYD Space Rock reminiscences and a guitar "a la Gilmour", but keeping the Medieval atmosphere alive with the vocals of Katya, extremely rewarding but disconcerting, specially because the religious closing section collisions with the next track "Yetima", that takes us back to the Folk pastoral music. As the album advances I like it more.

To continue with the surprises, the following track "La Nuova Rugiada" sounds like a polyphonic Renaissance Madrigal with lute (really performed with acoustic guitar) that again contrasts with melancholic harp and vocals ballad " Izanami e Izanagi "in wich Katya Sanna demonstrates her versatility.

"Il Chiarore Sorge Due Volte" is closed by two dissimilar tracks, the mysterious "La Rivalsa di Aki-Gahuk" absoluteletely reminiscent of MIRANDA SEX GARDEN with an Industrial edge and the delightful instrumental "Epilog", both different in style but comparable in quality.

Uninformed listeners who expect a classic Italian Symphonic band will be disappointed, but fans of Medieval Folk music will love this rare gem, in my opinion deserves no less than four stars.

Thanks to Ivan Melgar for this suggestion. A lot of really good music--the medieval parts/influences being my favorites. I guess I'm discovering something about my prog tastes: I seem to like the groups who incorporate old and acoustic instruments and arts (e.g. operatic singing, symphonic structures, chamber strings and troubadour insturments) and I really enjoy good female voice--and boy does DUNWICH have one in Katya Sanna! While the metal/heavy prog elements of this album are not my favorite, there are more than enough of the softer, subtler, more 'medieval' and pastoral/folk sections and themes to make up for these. While not a masterpiece, this is great music--music that continues growing on me with each listen. Ivan mentions MIRANDA SEX GARDEN-- which went on to become one of my favorite bands from the Naughties, MEDIAEVAL BAEBES (especially with "Yatima" [8/10] and "La nuova rugiada" [7/10]), while I find myself also reminded of DARGAARD, CLAIRE HAMMILL, LOREENA MCKENNITT ("La rivalsa di Aki-Gahuk" [8/10]), and ADIEMUS/MIRIAM STOCKLEY as well as EPICA, WITHIN TEMPTATION, and NIGHTWISH. I love the ROY BUCHANAN-like electric guitar work and vocal variety on "Il viaggio di Wesahaycah." (8/10)

Five star songs: "Storia di Ono," "La pietre de Dunwich," "Izanami e Izanagi," "Epilogo,"

Four star songs: "Il viaggio di Wesahaycah," "Yatima," "La nuova rugiada," "Solo por sognare," "La rivalsa de Aki-Gahuk," "il samurai della primavera."

Not a masterpiece but close; definitely an excellent addition to any prog lover's music collection--especially one that appreciates the integration of older 'medieval' instruments and themes and beautiful clear female vocals.

Named after a Medieval coastal English village that was submerged in a series of violent thunderstorms in the 13th century, DUNWICH interprets the anguished unheard cries of those who perished along with their homes. With a crystalline production, orchestral styled arrangements, folkish melodies, and tortured yet harmonious vocals, "Il Chiarore Sorge Due Volte" conjures the Gothic atmospheres of DEAD CAN DANCE meet RENAISSANCE. If you have ever heard the minor track "Like the Wind" from "The Eye of Wendor" by MANDALABAND, much of this album embodies the mood of that unique off kilter arrangement. The ethereal nature does not recall many classic RPI bands, and I think the well incorporated inspiration hails mostly from the British Isles, with perhaps a nod to the operatic tradition.

Intriguing to be sure, "Il Chiarore Sorge Due Volte" doesn't offer captivating enough compositions to match its maturity in other areas. Distinguished moments are scattered about, but they generally fail to anchor the 3 minute pieces in which they reside, let alone build a unified framework for 44 minutes. Still, this is worth investigating for fans of the archaic, and has piqued enough of my own curiosity to consider their other offerings.