«Là encore, la justesse de la composition et la production me transportent. Et c’est là le tour de force de cette œuvre… VOUS êtes vraiment ce navigateur. Voguant à travers des musicalités de divers horizons, changeant, au rythme de la musique... Ici la Musique est mise en avant, et de façon magistrale. La maturité de la composition est indéniable. C’est un vrai voyage chargé d’émotions que nous offre ici OPUS DORIA... Les amoureux de classique, de Musique, de métal, n’hésitez pas, ça vaut le voyage. »
(Les Seigneurs du Metal Webzine)
http://www.seigneursdumetal.fr/index.php?page=chronique&id_chro=2952
Comme je l’ai souligné à plusieurs reprises lors de précédentes chroniques, le monde du métal symphonique évolue en
permanence, se comportant comme un chaudron bouillonnant de groupes tous plus talentueux les uns que les autres, explorant des univers musicaux, essayant parfois d’improbables mélanges
d’influences ou de style.
Mais derrière cette activité presque fébrile, se cache un style bien ancré sur ses fondamentaux et ses codes, aussi
bien esthétiques que musicaux.
La tendance étant ces derniers temps très nettement orientée vers les albums de métal progressif, à la technicité
toujours plus osée et poussée, le concept d’Opus Doria présente une alternative, qui a défaut d’être totalement inédite, a le mérite d’emprunter un chemin différent, et de l’exploiter en
profondeur.
Le groupe dans sa présentation annonce un concept des plus ambitieux qui ne peut qu’éveiller toute notre curiosité et
nous inciter à aborder cette œuvre avec le plus grand intérêt..
En parlant d’œuvre… L’explication du nom du groupe, Opus Doria…
« Le terme Opus évoque les numéros des œuvres en musique classique, tandis que Doria se réfère au mode Dorien,
pour suggérer une musique aux sonorités modales allant du médiéval au moderne, en passant par le baroque et le classique »
Selon les propres mots du groupe…
S’il n’est pas rare de rencontrer des groupes de métal symphonique qui ajoute des influences variées dans la recette
de leur album, le concept décrit par Opus Doria pousse l’idée bien plus loin.
Le groupe se donne de toute évidence les moyens de ses ambitions, composé de 9 musiciens professionnels issus des
milieux classiques et actuels (voix lyrique, claviers, violoncelle, violon, guitare, basse, batterie, flûtes, hautbois et cornemuse), le line-up est impressionnant.
Nous nous apprêtons donc à partir pour un voyage, un voyage inattendu…
Mais avant de nous embarquer sur le vaisseau « The Compass Rose » préparons un peu nos
bagages.
Le groupe s’est déjà fait remarqué par ses précédentes galettes. « Infraworld » en 2011 et « A day on
earth » en 2014. Deux œuvres des plus prometteuses qui les ont classés sans ambiguïté en bonne place dans les rangs des valeurs sûres et montantes du métal symphonique, secteur pourtant
particulièrement concurrentiel…
Nous sommes prêts à embarquer pour un voyage au long cours, au fil des 13 morceaux de cet Opus et de ses 70 mn, servi
par un équipage non moins impressionnant fort des 9 musiciens du groupe et de leurs invités spéciaux.
La pochette de l’album est tout simplement parfaite. Sans surcharge ni fioritures, carton d’invitation ou billet pour
ce voyage qui nous attend, laissant planer le mystère tout en dégageant une douce quiétude éthérée.
Alors sans plus attendre, embarquons…
Nous sommes accueillis dès les premières notes par une ambiance digne d’une musique de super production
cinématographique qui nous emmène dans un désert des milles et unes nuits, où l’on s’attend d’un moment à l’autre à voir surgir les cavaliers de Prince Of Persia.
Le son est excellent et le mix met parfaitement en valeur une orchestration riche mais aérée et équilibrée soutenues
par une basse claquante qui flirte avec clarté dans les medium basse du plus bel effet.
Nous sommes encore dans l’ambiance qu’ »Enigma » entre en force avec un riff guitare nerveux et incisif.
Les promesses sont tenues et rapidement le morceau dévoile avec force toutes ses influences et clins d’œil aux musiques de films, dont je vous laisse le plaisir de retrouver les
origines.
Le chant est parfaitement placé, puissant, clair, servi par une ligne mélodique et une progression harmonique aussi
surprenantes qu’agréables à l’oreille, le tout sur un rythme soutenu. Par moment une flute vient casser avec grâce et légèreté cette ambiance pure métal symphonique avant un très beau chorus
guitare sous fond d’orchestration qui n’est pas sans rappeler le Nigthwish de la première heure.
Avec ce morceau grisant, puissant, entrainant et dynamique Opus Doria frappe fort, très fort.
Il serait tentant de décrire avec force de détail chaque étape de ce voyage musical, mais cela ferait une bien longue
prose tant il y aurait de choses à dire, mais quoi de plus normal pour ce qui pourrait être tout simplement un carnet de voyage bien rempli.
Alors une fois n’est pas coutume, c’est au fil des ambiances et des impressions que je vais décrire l’ambiance ce cet
album.
De l’ouverture baroque au clavecin et violoncelles de « Dancing Sun »qui surfent sur des gammes
entrainantes et portant de sculpturales envolées lyriques mezzo-soprano aux ambiances qui nous ramènent dans des déserts mystérieux de « Fire Horse » où les ondulations de la voix en
soprano semble parcourir les dunes de sable sous un coucher de soleil digne d’une production Hollywoodienne, le dépaysement est total.
Les genres, styles et influences se mélangent, s’attirent et se repoussent dans une harmonie changeante mais toujours
redoutablement efficace. Les guitares et la redoutable section rythmique sont là pour nous rappeler que tout n’est pas qu’une simple affaire de musique ethnique et folklorique, entre riffs
incisifs et superbes chorus rien ne manque.
L’album s’étire dans un long mais passionnant et richissime passage essentiellement instrumental portant de
magnifiques vocalise avant de nous faire arriver à un oasis de calme et de sérénité où les violons lancinent en douceur pour nous poser sous un ciel étoilé dans une nuit cristalline avec le
superbe « Star Reflections on the waves » où l’on imagine sans mal le firmament se fondre dans une mer d’encre de chine constellée d’étoiles.
Le temps de ce morceau nous sortons du monde métal-symphonique pour planer dans un superbe univers parfaitement
orchestré..
« Frozen flame » nous ramène avec brio et superbe à la réalité. Morceau qui mérite que l’on s’y attarde un
peu. Riche en influences, un peu d’Epica, du Nigthwish de la première heure, porté par une voix qui ne démérite pas, ce morceaux puissant nous transporte au fil de très beaux riffs guitares,
entrecoupés de violons langoureux pour mieux rebondir sur un superbe chorus et nous gratifier d’un final épique, tout droit sorti des meilleures pièces de la musique classique, majestueux,
imposant, à vous en donner des frissons…Les performances vocales sont tout simplement superbes, atteignant sans la moindre peine des sommets de diva, portées par une orchestration sans faille.
Pour ma part, l’un de mes grands coups de cœur de cet opus.
Nous voilà à peine remis des émotions générées par ce morceau somptueux que « Ghost Odissey » rebondit,
entrainant, vif, sur des riffs folkloriques, troubadours de l’ère moderne.
Riche en variations, tant rythmiques qu’harmoniques, parfois un peu abrupte mais tellement bien amenées au final, ce
morceau essentiellement instrumental nous transporte d’un univers à l’autre, des Highlands où l’on s’attend à voir apparaitre les armées d’un BraveHearth dans la brume à des passages plus
torturés et presque inquiétants, rebondissant sur d’enjouées sarabandes… Rien ne semble manquer à une telle pièce.
Ambiance garantie, et le voyage continue de plus belle…
Et pourtant, si nous pensions avoir tout exploré, « Scheol » nous emmène sur d’autres terres. Servi
par une magnifique introduction où les ensembles vocaux nous plongent dans une profonde mélancolie, les riffs nerveux de ce morceaux multifacette ont tôt fait de nous tenir en éveil. Là aussi pas
de réel répis. Les ambiances s’enchainent, et ne se ressemblent pas pour notre plus grand plaisir soit dit en passant.
En de nombreux moments le morceau prend des airs d’opéra, se déployant sur près de 8 minute cette pièce d’une
richesse incroyable aux instrumentations progressives fait la part belle à un piano inventif et surprenant qui nous surprend par une progression finale qui flirte allègrement avec les dissonances
et des évolutions qui rappellent les grandes heures d’un « OceanBorn ».
« Ethereal texture » nous apporte une nouvelle plage de sérénité avec ses accents folk venus de très loin,
à moins que ce ne soient nous qui venions de loin à leur rencontre. Les performances lyriques de la belle sont toujours aussi prenantes et accompagnent ces variations multiples dont la richesse
cache une portée particulièrement élaborée et riche en développements et rebondissements.
Ambiance qui se prolonge avec « Heavenly crossroads » qui nous plonge dans une ambiance très
« Nigthwish » aux accents de « Sleeping Sun ». Ballade que la maîtresse de chant au summum de son art survole, comme un oiseau survole un océan de nappes synthétiques,
pianos et guitares feutrés mais jamais effacés.
Le voyage pourrait se terminer sur un rivage lointain porté par ces mélancoliques et émotifs accords, mais avec
«Tierra de Sangré » c’est sur les terres très clairement de la musique hispanique que nous faisons notre prochaine étape.
Là aussi, l’immersion est totale, en quelques mesures nous sommes plongés sous le soleil de l’Espagne entre rythmes
endiablés où l’on imagine sans mal une fougueuse danse folklorique aux couleurs vives et couchers de soleils sur les entendues immenses d’une lointaine sierra.
La maitrise instrumentale est parfaite, la maitrise vocale tout autant, rien ne semble pouvoir échapper à la diva qui
semble désormais pouvoir habiter de son talent tous ces lieux et contrées que nous traversons depuis le début de ce voyage.
Nous sortons à peine de cette ambiance gorgées de puissance et de soleil que « The mask we left behind »
nous propulse dans un autre tableau au son d’un violoncelle expressif et torturé digne d’un Adagio. Et c’est un magnifique trio chant – piano – violoncelle qui joue avec nos sentiments et
notre sensibilité… Un morceau à savourer les yeux fermés pour se laisser porter.
Et c’est ainsi que nous atteignons le but final de notre voyage, avec le titre éponyme de l’album « The compass
Rose ».
Final flamboyant qui sonne comme un résumé de ce périple musical. Emmené par un piano survolté aux consonances et
influences multiples, enchainant les gammes et les rythmes avec autant de facilité que de diversité.
Le morceau nous tient en haleine permanente, nous entrainant dans un tourbillon de mélodie, d’ambiances, bousculant
les codes pour mieux s’en libérer.
Final épique pour un album qui l’est tout autant, jusqu’à la dernière note nos sens seront sollicités, notre
sensibilité tout autant avec un final porté par la diva à son paroxysme.
Alors que les dernières notes s’estompent, que dire de cet opus ?
Malgré une longueur non négligeable, près de 70 mn, son écoute se fait avec autant de facilité que le voyage
annoncé.
Toutes les promesses sont tenues, et si pour certains l’utilisation du mode dorien n’aura guère de sens ou d’écho, ce
n’est pas grand problème tant il suffit de se laisser porter au fil des morceaux.
Le son et la post-production sont tout simplement impeccables, et le défis était de taille au regard du nombre
d’instruments à prendre en compte mais aussi de toutes les ambiances qui défilent morceau après morceau, mesure après mesure, et qui ont chacune leur identité musicale et sonore
propre.
Les performances instrumentales sont parfaites, mais que dire de la performance vocale de la diva qui nous fait
trembler et semble repousser toujours plus loin les limites de son art et de sa maitrise.
C’est un album de la démesure, sans aucun doute. Le classer dans un style plutôt qu’un autre serait à mon sens, bien
trop restrictif et n’honorerait pas le fantastique travail artistique et technique réalisé.
Chacun selon ses goûts et ses influences y trouvera de quoi ravir ses oreilles, les afficionados du pur métal
symphonique trouveront peut-être des longueurs, d’autres seront peut-être secoué par les envolées rythmiques toute en puissance, mais au final, c’est un tout qui n’appartient qu’à
lui.
Alors je dirais que le style Opus Doria, c’est Opus Doria, ni plus ni moins, et que pour s’en rendre compte, il n’y a
qu’un seul moyen, l’écouter.
Pas une seule fois, ce n’est pas un album qui délivre toute sa saveur du premier coup, loin de là. Vous pouvez
faire le voyage d’une traite, comme en plusieurs fois, revenir d’une étape à une autre, vous y trouverez toujours des saveurs et des ambiances sonores à déguster.
Il faut néanmoins aborder ce style d’album comme une volonté poussée très très loin de mélange des genres et des
styles.
J’ai minutieusement écouté chaque morceau à la recherche des influences données par le groupe, et je les ai toutes
trouvées. Après, que l’on aime ou pas cette musique multiculturelle, rien ne peut lui enlever le fait que c’est un choix parfaitement maitrisé et bien plus encore.
Dans un monde musical qui se cherche encore et qui revient souvent sur ses fondations, on peut très clairement dire
qu’avec cette œuvre Opus Doria va de l’avant, et à défaut d’avoir inventé un style, a su avec brio et majesté réinventé une recette et un mariage aussi improbable que
passionnant.
Manu - Elfika
Groupe de métal symphonique français
Opus Doria is a French group doing a slightly different brand of metal. We’re all familiar with the term operatic symphonic femme metal. Well, this one is heavy on the first three words, although there is a share of metal to be found. But, it’s there to provide context as much as anything else. Lead vocalist Christel Linstat is a voice, a big voice. And as beautiful a voice as you will ever hear in the genre. She’s a trained classical vocalist and she puts that vox on display here, over some seriously nice material. I know we all need our daily dose of hard metal; screaming death metal, crushing doom, Gothic from the darkest regions of hell. . . but, there are times when the beautiful metal is what’s needed by the soul. And Opus Doria has served that up in spades with Compass Rose.
Christel is, I believe, the second vocalist with Opus Doria. I didn’t think the first one could be topped. But, we live and learn. There’s a lot of folks on this release and they come with a variety of talents. The Nicogossian girls, Flavia and Laura provide classical components via the cello and keyboards / piano along with background choral elements. There are guitars and drums which are used to varying degrees depending on the material covered. And, there are more, some pictures depict as many as 8 or 9 so there’s a lot of French talent going on here. I know someone’s doing a bagpipe, or should I say, Uilleann Pipe (Irish pipes) and it’s enough to own this Scott / Irish heart.
There’s a total of 13 tracks here and they cover a variety of styles. Probably not time to cover them all although I’d be hard pressed to find a bad one to leave out while listening. Just start with 1 and go through to 13. You won’t be disappointed. The overall feel in classical, these folks all seem to come from a classical background but there’s enough of a beat to most of the material to make you comfortable. The real signature component, however, is that vox that flames into most of the tracks here, just as you’re getting comfortable with the music you’re hit with a vocal that rips your ears off. I’ve been close enough to Tarja on multiple occasions to appreciate that vox, this one easily compares to it.
The release begins with Intro - A Road to Infinity. This one begins with a pure classical element, starting with an oboe that leads to a full symphonic. . . and moving to a crunching bass. From here we go to horns that move back to the stings. You get the idea?
The next track, Enigma, begins with some honest ta god metal. And then we get. . . our vocalist. Only here, she’s doing something that resembles a Celtic sound. Classically trained vocalists can do that you know. There’s a fair amount of that Celtic on the release, the French like that stuff, so do I. But, somewhere in the track we get a solid guitar riff, not long, but enough to put the beat in the Celtic. Dancing Sun continues this direction, with a classic sound from the Middle Ages. But with this one, Christel takes us to a more classic contralto. The drums begin to pound and we get what appears to approach metal, complete with a screaming guitar. The sound is diversified, we get lots of stuff, background vocals, lots of classical influence, but all encased in some real fine metal.
Fire Horses is where we deviate from the norm. This one is largely instrumental, one of several, and that makes it no less interesting. Christel does some classical background vocal that sends chills up and down your spine. But, this is film score material, makes you think of Lawrence of Arabia, only with better music and FAR better vocal. There’s some fine violin towards the end that takes this one to a satisfying conclusion.
There are some tracks, however, that just have to be mentioned, maybe for personal reasons. Ghost Odyssey is first and foremost. This is a bit of a metal rocker, but, it’s the inclusion of certain musical components that make it stand out. First, we get what sure sounds to me like a bagpipe (the Irish version, as mentioned before), and it proves to be the signature sound to this track. Probably a similar instrument to the bagpipe but it sure puts the Celtic back in this track. Again, this is instrumental but, with the range of instruments featured, it is nothing short of classic. There’s a part, shortly after the midpoint, where the pipe and flute come back that damn near takes me to tears. Still, you get the pounding drums to make sure your metal needs are met, but this is just so much more.
With Scheol we return to the beautiful. Where was this in the hedonistic, drug filled days of my youth. We get ethereal music to lead us into some classical metal, a couple splifs full of Tallahassee Two Toke to be sure. And Christel takes us to new heights vocally. Those vocals are nothing short of devastating. Hard to get past music like this, especially when in an altered state of consciousness. . not that I visit those lands often these days. . . . But the thoughts expressed here certainly do take me to Gothic realms:
Is this here Hell? The sight of my own nothingness? / Where I flounder alone, in Limbo, in a desolation…
No emotion, only emptiness and silence; / No anguish, nor excitement or delight;
I’m numbed; I feel nothing any more; / It’s worse than Hell; I haven’t any memory any more…
I have to find heat again; red blood…
Ethereal Texture is just that, a soothing sound, mainly instrumental, that blends orchestral elements, and that lovely pipe, to take us to lovely places, and lovely thoughts:
Come with me, take my hand, follow me / Come with me, and you will see....you will see
Beyond the dark shines the light / Beyond the night, light is shinning
For many tracks, it’s the blending of the multiple instruments, (I counted about 13 in a quick count from the front page) that are the signature we will associate with this release. They are used throughout, in various combinations. Sometimes they are the entire focus, other times they are there to work with Christel’s vocals. Heavenly Crossroads is one of these. There’s more than enough instrumental work to cover the territory, but, with this one, Christel owns the day. Again, the message is as lovely as the vocal presenting it:
No longer must I suffer, no longer must I choose / Everything’s forgotten in the billows of the clouds!
Cut off from all the World, and with nothing left to loose
I will rest my soul at last; the silence will be loud
Tierra de Sangre is one of the more interesting tracks, it’s done entirely in Spanish. Laura, who writes the lyrics, informs me she speaks Spanish, and proved it in some messaging. This one not only uses the Spanish lyrics but takes a Spanish twist with the sound which begins with a trumpet ( I think) sounding like what we hear at the beginning of a bull fight. It’s a great addition to the release, and, again, Christel demonstrates that classical training with a solid Spanish pronunciation of the lyrics.
The final track is the title track, Compass Rose, and it does a masterful job of tying the release together, musically and lyrically. Lots of Laura’s keys, superb choral work and Christel sending us on our way with thoughts most profoundly Gothic:
Now I’m alone, from now on face to face with me
And staring I lose myself into this mirror / How have I arrived here?
Was this really my destiny? / I don’t know why it happened any more
Compass Rose takes us on a journey through lovely soundscapes, littered with thoughts as beautiful as the music. It’s hard to get past excellence at this level. A 10 / 10 is more than richly deserved. Bravo.
OPUS DORIA...'THE COMPASS ROSE'
(Self Release) Reviewed 1st December 2016
If it ain't broken why fix it is a common saying and it applies to the
awesome French Symphonic Band Opus Doria. The band fronted by the crystal clear and superb vocals of Christel Lindstat was conceived in 2009. Their music is heavily orchestrated and occasionally
quirky Symphonic Metal and is a joy to these ears to listen too. There is some wonderful stuff here, the beautiful 'Dancing Sun', the quirky and mainly orchestral 'Fire Horses', which is then
followed by the wonderful instrumental 'Stars Reflections On The Waves'. The band ups the ante with 'Frozen Flame' and then the awesome number Ghost Odyssey', that introduces the pipes and I do
love the pipes. Then there is the Symphonic/Progressive 'Scheol', the beautiful and haunting 'Ethereal Texture', with the quality remaining high up to and including the closing 7 minute plus
title track. This is a powerful and beautiful record mixing rock & metal with the classical giving an overall cinematic feel. The band's Facebook can be found here...
8.75/10 (Dave)
Opus Doria - 'A Day on Earth' (Self Released) |
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CD Reviews |
Written by Michael Anthony |
Monday, 17 November 2014 03:20 |
They are a band who pull no punches, unashamedly blending classical, metal, prog rock, world and celtic influences to combine operatic lyricism with “the power of rock and metal”. And herein lies the key. This is a genuine attempt at rock/classical fusion, with the wares of cellist Flavie Nicogossian and “opera singer” Christel Lindstat nestling comfortably alongside more traditional rock instruments.
The wonderful scene setting of ‘Prologue’ suggests from the off that the album has been composed by a songwriter – Laura Nicogossian – who has a knowledge of classical and rock music and writes with classical and rock instrumentation in mind. (There are guest musician parts written for flute and oboe.) That gives the album weight and substance. It does so much more than seek to embellish rock music by tagging on a few nice classical sounds – a trap that lesser bands might fall into.
‘A Day in the Life’ is 40 minutes and seven tracks that are always classy but are controlled, and bombastic by turns. ‘The Mission’, for example, fair motors along with great shredding guitar work at the start (courtesy of Bruno Rodrigues) that puts one in mind of the great Uli Jon Roth. ‘Crystal Ocean of Tears’ is striking for the range of instrumentation, from the very modern power metal drumming (from Benoît Brune) to the more gentle flute sounds. Elsewhere, ‘Lost Children in the World’ is an inventive and dynamic expression of the band’s more prog and folk side. Even more entertaining is ‘Epic Race’, a medieval, renaissance-folk infused jaunt, complete with choral section, that at times is positively frenetic. Indeed, it strikes me as the kind of thing that Blackmore’s Night might pull out of the hat, were Ritchie ever to get out of the bed in the morning feeling like he could be arsed.
‘Wind Whispers’ further showcases the talents of singer Lindstat and features one of the album’s strongest melodies, while closer, ‘Requiem for a Wise Man’, beautifully introduced by Laura Nicogossian’s organ, is the album’s longest and most ambitious track. Surprisingly, given what has gone before, it’s a bit ‘one paced’ but it does give the musicians a chance to stretch out a little, with the bass playing of Yannick Hubert pleasingly prominent as the track wears on.
‘A Day on Earth’ is an enjoyable and uplifting album – at times inspiring and always easy on the ear. If you’re a fan of the genre, it’s the business. |
OPUS DORIA - A Day On Earth
(S/R - 2014)
An equal halves male/female French six-piece, Opus Doria describe themselves in two parts at that, by name.
The Dorian part is plied in reference to the classical mode of their melodic metal compositions, and quite magnificent ones too. Operatically trained frontwoman Christel Lindstat takes every track of the seven and shapes it up from the floor herself, floating with only the most basic guidance from guitarist Bruno Rodrigues.
Shove in an abundance of super-exquisite keyboard harmonies, solos that don't stay over their allowance and every part of every tune is a magical tale on its own. No tracklistibg at my disposal, I have to go on the numbers but 2, 3, 5 and 7 stick closest to my head as I hit the 'play' button for the second trip round.
Tres delicieux, Opus Doria peoples.
9/10
By Dave Attrill
OPUS DORIA...'A DAY ON
EARTH'
(Self Release) Reviewed 5th June
2014
Opus Doria is a French Symphonic
Metal band who took to life in the fall of 2009, with compositions mixing the lyricism and rigour of classical music and the rythmic power of metal. The band released their first album
'Infraworld' in 2011 and this their latest offering, came to fruition on May 1st 2014. The band is fronted by Christel Lindstat with all music and lyrics by the rather talented keyboard lass
Laura Nicogossian. What the band offer the listener is a 7 track epic dose of Symphonic Metal, which all kicks off with the five minute + 'Prologue'. This as the title would suggest is an
instrumental with a strong classical influence. This then segues into the up tempo 'The Mission' showcasing the operatic vocal style of Christel very nicely, with the good work carrying on into
'Crystal Ocean of Tears'. 'Lost Children In The World' is downright beautiful and rather quirky at times with a folky feel, while 'Epic Race' is another cool quirky instrumental. The closing duo
of 'Wind Whispers' and the epic 8 minute + 'Requiem For A Wise Man' (great organ intro) closes a rather good album to my ears, and although Symphonic and to an extent Metal, it is slightly
different but in a good way. For more info, check out their bandcamp atwww.opusdoria.bandcamp.com/releases...
8.5/10 (Dave)
Review by Phil Wooldridge (Ravenheart Music) (England)
OPUS DORIA…'INFRAWORLD'
(Self Release) Reviewed 4th October 2011
“Opus Doria were founded in the great medieval dukedom of Aquitaine only two years ago, and fittingly they take their name from the eight note Dorian scale developed by medieval monks for their
chants, it today equates to the white notes on the piano starting with D for Dorian. Their very impressive symphonic metal lies somewhere between Wildpath and Nightwish, featuring Maela Vergnes's
superb soft mezzo-soprano voice. The tempo is lively rather than speedy, and double peddling is used very sparingly, instead this is a band that prefers a good gallop, on 'The Mission' (video on
Female Voices blog) you even get the sound of hooves, and during the folky instrumental 'The First Crusade' you can imagine the famous crusader knight Godfrey of Bouillon charging into battle.
Other personal picks include the immense and intelligent 'Brain Machine' and the bright and breezy 'Wind Whispers'. What sets them apart is that they are blessed with an outstanding keyboardist
and arranger, lovely Laura Nicogossian is given free rein to show off her talents throughout the album including the two glorious symphonic ballads 'The Cry of The Knight' and 'Reborn', with the
album culminating with her 10 minute instrumental showcase 'A Lost Planet'. Flavie Nicogossian adds an extra classical flavour with her cello whilst highly skilled guitarist Alexandre Warot and
bassist Yannick Hubert supply the metal. The production is good and appropriately thundering, my only slight quibble is that I would have like the vocals higher in mix. This is a thoroughly
enjoyable symphonic metal romp so ride off to their Facebook for details on how to grab this opus, a stirring 8.5/10 (Phil)”
Review by Les Seigneurs du Metal (France)
OPUS DORIA - INFRAWORLD / Auto Production 2011
Aujourd’hui on va voyager avec OPUS
DORIA dans un métal symphonique loin des sentiers battus. Ce jeune projet nous vient tout droit d’Aquitaine ! Et oui un groupe de chez nous !!
Sans plus attendre, commençons notre voyage dans « Infraworld ».
« The Sundial » démarre comme une BO de film épique, avant que la guitare nous lance un riff tranchant et puissant en
pleine poire. Le chant vient se greffer sur la musique et le moins qu’on puisse dire c’est que la chanteuse assure. C’est lyrique et mélodieux, mais on décèle un léger manque de puissance par
rapport à la composition. Le solo très néo classique nous en met plein les mirettes. Bonne entrée en matière.
« The Quest » démarre en trompe, avec un riff speed, des chœurs, la totale. Les instruments s’accordent parfaitement,
chacun reste à sa place, mais le chant, sur certaines parties manque encore de puissance. Mais les parties musicales sont impressionnantes de maitrise. Il faut dire que nous avons à faire à des
professionnels, et ça s’entend, si vous prêtez attention aux lignes de piano et de violoncelle.
« Brain machine » est un morceau un peu plus direct, accès sur la guitare et l’énergie, et le chant qui là colle bien au
morceau qui se termine à l’orgue : la messe est dite.
On arrive à un morceau instrumental, « The First Crusade », énorme !!
On démarre au clavecin et violon, de façon un peu folk, qui n’est pas sans rappeler l’intro de « Quietus » d’Epica, mais en plus lyrique. Puis quand les orchestrations arrivent avec les
chœurs, ce riff dantesque, c’est tout simplement jouissif. Passages hyper mélodieux à la guitare, solo déjanté, break de clavier puissant, une leçon, respect.
L’influence classique se fait vraiment ressentir dans les mélodies, notamment aux claviers. Un murmure annonce « The cry of the
knight », magnifique ballade, envoutante, lyrique, mélancolique. « The mission » fera penser peut être au
Rhapsody du premier album sur l’intro. Le morceau reste assez mid-tempo, mais le break est fantastique, si vous aimez le classique. Le chant manque une fois de plus d’impact. Il est très juste,
mélodieux mais pas assez puissant, hors on sait qu’il peut l’être.
Autre ballade, différente, « Reborn » se fera surtout piano voix. La batterie se fera légère et quelques orchestrations
viendront embellir la compo. Pas grand-chose à dire si ce n’est que c’est beau, et bravo au solo de violoncelle.
« Wind whispers » reprend la voie du direct, du « plein ta face », et là le chant est nickel, le refrain vous laissera sur
le cul. Pas de remplissage, on fait du concret, avec des mélodies qui restent. On poursuit notre itinéraire avec « Space of
Dilemma », et sa montée en puissance avec ces vocalises qui vous laisseront pantois. Le riff ultra speed et le chant lyrique, très orienté opéra, donnent envie d’appuyer sur le
champignon. Les arrangements classiques apportent beaucoup aux morceaux, je répète : ne pas les négliger. Ces deux derniers morceaux sont vraiment énormes.
On conclut cet essai avec le long morceau « A lost planet », instrumental, très progressif et lent. Le piano laissera
place à la symphonie et inversement, dans un jeu de chaises musicales. Le morceau se laisse savourer, tranquillement, et distillera ses émotions au fil des écoutes.
Alors là mes amis, je suis impressionné. On est loin du métal classique que l’on nous vend habituellement. On est vraiment plus dans du métal classique et lyrique que du symphonique. Les compos
sont fortes, riches de mélodies, que l’on découvre écoute après écoute. Chaque instrument est maitrisé, une vraie leçon de musique. A découvrir.
Critique : SBM
Note : 9/10
Review by Suoni Distorti Magazine (Italy)
in martedì, febbraio 14, 2012
under Opus Doria, Power Metal, Symphonic Metal
Il primo termine del nome con cui la band francese si presenta è “Opus”, che secondo lo studio etimologico dei
termini, in ambito di musica classica richiama la catalogazione numerata di opere inerenti ad un autore o ad un'opera .
Tramite il secondo, “Doria”, si cerca di evocare il modulo musicale dorico, elemento portante della musica nell'Antica Grecia, utilizzato durante il periodo Medievale nell'ambito del canto
gregoriano.
Il collegamento però non riguarda solamente l'ambito musicale, ma ha radici più profonde: i teorici medievali dell'epoca carolingia si proponevano di riscoprire i legami con
le tradizioni del passato, distrutte dalle invasioni barbariche dei popoli nordici.
La band, di formazione recente, nata verso la fine del 2009, si presenta a noi nel 2011, attraverso 'Infraworld' il suo primo album al quale non associamo alcuna casa discografica poiché
autoprodotto.
La copertina del cd presenta in primo piano una fanciulla che osserva il paesaggio che le si prospetta dinnanzi: è un territorio che cela qualcosa di magico, fantastico, meraviglioso...
L'ascoltatore passa dalla realtà alla “Terra di Mezzo” (Infraworld), e da qui, tramite la magia della musica, arriva al Mondo dei sogni.
Nell'universo che gli Opus Doria hanno creato si sente fortemente il richiamo delle scene epiche, all'interno delle quali regna il misticismo e l'irreale.
Secondo una “lettura” dell'opera in chiave allegorica, gli Opus Doria danno la propria interpretazione dell'eterna lotta fra la Luce e le Tenebre, il Bene ed il Male, che prende corpo attraverso
i virtuosi pezzi strumentali caratterizzati dall'onnipresenza del violoncello e della tastiera, e tramite il contrasto fra la dolcezza della voce di Maela Vergnes ed i riff potenti della chitarra
tipici dell'heavy e del power metal.
La cantante riesce ad avere un buon controllo della propria voce, anche se trova qualche difficoltà nelle tonalità basse che a volte non sono del tutto sostenute.
In complesso però la voce è buona,caratterizzata da suoni soffusi e poco pronunciati per le note gravi, e dalla rotondità e morbidezza che riesce a conferire ai suoi acuti.
La band ha una formazione classica, ma intraprende l'approccio al symphonic metal, anche se sono presenti caratteristiche tipicamente power e talvolta heavy metal. Si sente l'influenza della
musica Folk e a volte si percepiscono i richiami tipici delle colonne sonore dei film.
Nelle tracce contenute, si sente soprattutto l'influenza della musica classica, del power e symphonic metal, ed a tratti, è possibile avvertire gli elementi caratteristici delle colonne sonore
dei film.
Il brano 'The First Crusade' ci presenta un'introduzione che richiama gli “stornelli” tipici della cultura celtica, per poi passare ad un ritmo più veloce ed incalzante.
Sembra infatti di trovarsi sulla sella di un energico puledro che, con il suo galoppo sfrenato c'introduce in questo regno fantastico all'interno del quale siamo i fedeli cavalieri che lottano
per diffondere il nome della loro Amata Sovrana: la Regina Musica.
L'elemento caratterizzante che richiama il suono degli zoccoli equini si ritrova anche nell'intro e nell'outro di 'The Mission'.
Diverso è l'andamento di 'Reborn', nel quale regna la voce morbida e limpida del soprano, che a tratti, ricorda quella di Simon Simons in 'Linger'.
Attraverso l'ultima traccia: 'A Lost Planet', sembra che gli Opus Doria, dopo averci introdotti nel loro Paese delle Meraviglie, ci salutino per poter lasciarci a contemplare l'opera che
hanno saputo creare e della quale ci fanno omaggio...
a cura di Cathy Chrow
Review by Arn Absolmo (Melodic Hardrock Today) (Norway)
OPUS DORIA - Infraworld
The Opus Doria project started in Dax, Aquitaine in France in the fall 2009. After several line-up changes through the first years they are now ready with their first album Infraworld. Opus relates to the marking of numbers in classical music, and Doria stands for the dorian mode to suggest the modal sonorities we can find in music from the medieval and from baroque music. The band is ready to go out promoting their music to the world, and is looking for some gigs, so watch out!! From time to time it shows up bands that really impress me a lot!! Opus Doria is one of these fine new bands with their debut Infraworld. Over the last few weeks I don`t dare to tell you how many rounds this fine album have spinned in the player, and for each time I listen the album it grows more and more. Musically Opus Doria is a very interesting band with a landscape of music with influences from the medieval, baroque, symphonic classical music, metal, epic film score music, and they also partly sound progressive and heavy. The Sundial opens the ball and from this point you can sit back and enjoy fine arrangements with piano, choirs, cello, great riffing guitars and strong solid vocals from Maela. I like the way they build their songs and the way they manage to inflict different themes, styles and variations. Like with the next The Quest, that starts with a power metal oriented style that changes at the first verse to a more classical medieval style. The guitars is powerful with lot of cool details and solos, the floating piano sounds nice, the choirs and the vocals take the song to a high level! Brain Machine is a heavier sounding song. The church organ plays a big part in this. The vocal melody is stunning and I like the small switches musically in this with the beautiful guitar solo and the classical aggressive part. The Instrumental The First Crusade opens beautiful with a medieval style with nice cello. The song really kicks of with lot of power and tempo, and its great to hear fine compositions like this with a lot of cool details! The Cry Of The Knight takes the tempo down, a classical moody song with a beautiful melody and haunting vocals. The cello, piano and choirs is really entertaining and I admire musicality and creativeness like this: Just Fabulous!! The Mission opens with thunder and lightning and running horses. A jewel of a song and one of my favorite songs on the album! The melody is very strong with big chorus lines, and also the instrumentation with the nice cello solo, the piano. Also this song is very different throughout with up-tempo bits to more heavy and classical parts. Reborn opens with beautiful vocals, strings and piano. A very strong moody classical inspired ballad that will melt you! I also like the sound and production on this album because they really manage to get forward the exact right details this kind of music shall have!! Wind Whispers opens powerful and classic. This is another of my favorite songs on the album! A very entertaining melody with even stronger chorus lines. The style of the song, the instrumental performing with lot of cool details make me want to listen again and again to this song and album! Space Of Dilemma is maybe a bit more progressive oriented than the others. The chorus lines and melody glues into your brain after a few rounds in the player. Also this have solid guitars, big choirs, classical influences and powerful arrangements! The last song the ten minute long instrumental A Lost Planet opens very moody with very beautiful played cello and fine choirs. Throughout this song is very classic, calm and moody! Infraworld from Opus Doria is just a masterpiece of an album and this year this is one of my favorite albums, so check them out now!! 99/100 Reviewed by Arne
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Review by Terry Thompson (Sonic Cathedral Webzine) (USA)
Opus Doria - Infraworld |
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Written by Doctor T. |
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Thursday, 05 January 2012 |
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Opus Doria - CD Review
When it comes to beautiful Gothic, the French do some of the best. Bands like Dark Sanctuary do it with a serious classical direction. Others, like Whyzdom, use a little more metal, but the classical is never far away. Opus Doria seems to be somewhere in the middle, there is a heavy dose of the classical, with a variety of musicians and instruments, and a solid soprano delivering the vocals. However, they do make use of some metal, some strong guitars and drums, not as pronounced as Whyzdom, but more pronounced than Dark Santuary. And they do make use of all those additional components that, to me, make Gothic the wonderful musical direction that it is. We get a near overwhelming symphonic, provided through keyboards and strings. The vocalist could work in pretty much any opera environment, and she has that extra talent to utilize that classical capability in a metal environment, not something every soprano can accomplish. And that’s just the beginning. So you get the idea that this is classical stuff, a keen observation of the obvious there. We have three women in starring roles. Maela Vergnes, chant or, as we say in the semi civilized colonies, lead vocalist. And she is a good one, no, a great one. Flavie Nicogossian works the cello and Laura Nicogossian, I guess they’re sisters or somehow related, another keen observation of the obvious, eh? Anyway, she handles those blinding keyboards, and Lord, they are good. I should point out that the ladies do sing together, creating their own choral component, another typical requirement for top flight Gothic. Guitars and drums are a male dominated domain, Alexandre Warot on lead with Yannick Hubert on basse.. . as they say in France. Drums are provided by Jon Erviti, and they play a pronounced part in most tracks, but not all. Well, we have a not completely out of the ordinary musical capability for this type of music, so what is it about this work that makes it so much better. Well, for starters, you get a relatively broad musical influence from some pretty good classical musical styles. The band lists a number of them ranging from medieval, baroque (Vivaldi, Bach. . ), classical (Beethoven), romantic (Liszt, Puccini, Rachmaninoff, Scriabin) to modern and acknowledging the contemporary Gothic (Nightwish, Epica, Rhapsody, etc.) So, you pretty much know which way this is going, there’s not a lot of bad names on that list, unless you’re into rap and in that case what are you doing here? But just appreciating the classics won’t necessarily make for good music, you have to be able to write it, produce it and perform it, and Opus Doria seems to be more than adequate at each of those requirements. Even the band name was chosen to further elaborate on the focus of the sound: "opus" relates to the making of classical pieces with numbers while Doria relates to the dorian mode to suggest the modal sonorities found in medieval and baroque music. And what this all leads to is some of the most interesting Gothic I’ve had the privilege to listen to, you get a taste of it here, including a visual key. This is, of course, just an intro, a sneak peak, if you will, but you get a nice introduction to the outstanding music, and the people providing it. The music seems to go back and forth to some extent, with some material focusing on the classical, other tracks utilizing more of the drums and guitars to provide a more metal sounding interpretation of the group’s musical interests. The Mission goes in the later direction, as this video indicates. But, you see the focus on the keys, and the vocals, talent that is not to be denied. And that cello provides something no other instrument can capture. There is, of course, the dramatic intro, and close, with horse beats to provide perspective. But it’s the vocal over that classical sound, augmented by the metal, that serves to define the track. This one is rather epic in direction, maybe a little different than the normative sound which tends more towards the Gothic, but you gotta love that cello. And the interplay of the cello with the keyboards and the guitar lend a sound that is just so perfect. One of the most interesting sounds is The Cry of the Knight. Again, we get an epic perspective; we get a sound straight from a dark movie track. The song begins with a whispered lyric, which leads to that haunting vocal, one which is singular in its beauty. Here, the keyboards begin with a piano like sound, a soft accompaniment that serves to carry the vocal, as we relate a touching tale of saddened beauty. Again, the cello serves to offset the music while the metal brings highlights to the story. But, again it’s the vocal that provides a chilling vie à la musique. There is some solid metal, some guitar interspersed throughout the song. But, it’s the classical that serves to define the number. On other numbers, there is a more solid metal component. The Quest begins with solid drums and guitars, but, in the background, we get that choral component that leads to the vocals. This becomes a baroque number, with metal influences. The choral work continues, it’s objective to set up those vocals, to augment that beautiful sound that drives the music. But here, we get solid drumming that underscores the symphonic. The lyrics take us into a Gothic search for meaning:
In the rambling of my mind The Brain Machine takes one of the most Gothic directions, with one of the more classically Gothic musical directions. Again, there is a metal component throughout the track, but you tend to forget that sound as the music leads towards an ethereal interpretation of the lyric, which is nothing if not dark and mystifying.
Face to the ground and the bent back, The final track takes us to a sound with no vocals, one which continues with beautiful classical music for over 10 minutes. Now there are some background vocals, but no lyrics. If you liked that music from Lord of the Rings that established a remorseful, emotive feeling of well-being, this will be a classic for you. The track is called A Lost Planet, and here we get two things, beautifully composed music and music that is presented with an excellence that defines the work. It’s hard to believe that the old rock n roll I listened to 40 some years ago could morph to something like this. I guess us old rock n rollers did have some potential. It’s clear that music reviewers tend to glorify that music that most appeals to them, individually. I mean, some people actually speak positively about rap. But, I was into the rock the day Elvis sang Hound Dog, so I’ve seen a lot of it. But, I’ve always appreciated the classical, especially when that classical was able to mesh with the metal. And, few sounds have done it this well. What we have here is certainly one of the finest interpretations of that capability I’ve ever heard, solid musicians with a vocal as good as anything I’ve ever heard. And the material only serves to highlight those capabilities. Given that level of accomplishment, it’s hard not to award it a 10, and hope this is only the first of many by this group. Well done. 10 / 10
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