Duty
Free Area (1999)
DFA's blistering set at NEARfest 2000 was one of the true highlights
of the festival, and though I was a little afraid of a letdown
on their studio work, their second album, Duty Free Area
is certainly no disappointment. DFA plays a style of primarily
instrumental symphonic fusion with an intense and heavy air,
comparable perhaps to fellow Italians Deus Ex Machina, but less
bombastic and with more breathing room. As has been pointed
out in a number of reviews I've read, the band also adopts a
sort of "spacey" vibe, with heavy echo and reverb, as well as
beds of sci-fi sounding keyboards cushioning the proceedings.
Musically, the band's playing is tight, complex and often extremely
melodic. This kind of symphonic fusion sounds somewhat influenced
by 70s bands like Finch or Focus, but I think DFA pulls it off
even better, being extremely varied, with a sublime understanding
of dynamics. Jumpy rhythms and pulsing basslines give way to
open, melodic passages of sweeping guitar and synth.
The opening
instrumental, "Escher" is phenomenal, and presents all the strengths
of the band's sound. "Caleidoscopio" is more drawn out, allowing
room for some nice vocals, before building into some intense
jamming at the close. "Esperanto" is awesome, featuring one
of today's premier vocalists, Alberto Piras from Deus Ex Machina
over active, odd-timed rhythms. "Ragno" features some absolutely
shimmering piano parts, and more excellence in the same style
is carried throughout its eleven minutes, making it perhaps
the finest track on the album.
Duty
Free Area probably ranks among the very finest Italian releases
of the 90s. Although this album isn't quite as purely visceral
as their awesome live performance was, it's still excellent.
In all, DFA is a great jazzy symphonic group that surely stands
apart from the pack of the modern prog scene. -
Greg Northrup [April 2001]
Click
Here for Tracklist and Lineup Info
Work
In Progress Live (2001)
NEARfest 2000
was more than just a special event for me. Not only was it one
of the first concerts I had ever been to, it was the first time
I would see any progressive rock bands live. Not knowing most
of the bands, I went in without either inflated expectations
or the cynical, jaded views of the typical prog fan who has
seen it all before. DFA was one of those bands that I had no
prior exposure to, and I was instantly blown away. Their explosive
brand of symphonic fusion and incredibly tight playing had me
on the edge of my seat for the entire set. Thankfully, for those
of us lucky enough to catch it the first time around, and even
more so for those who didn't, the majority of the band's now
legendary set is now available (the closing song, "Esperanto",
with Gianni Leone on vocals has been left out). Like the Finisterre
live CD, the sound quality here is amazing, with flawless on-site
recording and an outstanding mix.
DFA plays a modern
symphonic fusion that draws on many elements to produce a dynamic
sound which can be blistering symphonic rock one minute, and
quiet and spacey the next. While they can easily blow you away
with their intense sound, their excellent compositional skills
and sense of dynamics always keeps the music fresh, with plenty
of breathing room. The proceedings begin with "Escher", a standout
track which starts out with a spacey intro that builds into
an energy filled piece with great melodies. This is certainly
one of the band's most memorable pieces. "Trip on Metro" is
a groovy cut, with a solid bass line and excellent drumming.
"Pantera" is a nice and varied piece, with great electric piano
in the quieter sections. The epic "Rango" is filled with all
the different aspects of the band's sound, building up the intensity
and coming down for the relaxed portions.
DFA are one of
the brightest stars shining in today's murky progressive scene.
While great on their studio albums, this band is especially
at home in the live setting, and this performance is certainly
indicative of that. This was truly a magical set, and as great
as it was to be there, it's just as great to hear it here on
CD. -
Mike Prete [July 2001]
