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Daydream XI - The Grand Disguise (2014)


Artista: Daydream XI
Álbum: The Grand Disguise
Año: 2014
Género: Power metal progresivo
Duración: 77:17
Nacionalidad: Brasil


Lista de Temas:
01. Keeping The Dream Alive
02. Like Darkness Rules The Night
03. Watch Me Rise
04. The Guts Of Hell
05. The Age Of Sadness
06. Wings Of Destruction
07. About Life and It's Ending
08. Phoenix
09. Zero Days
10. Alone
11. The Grand Disguise

Alineación:
- Tiago Masseti / Vocals, Guitars
- Marcelo Pereira / Guitars
- Tomás Gonzaga / Bass
- Bruno Giordano / Drums


Brasil tiene un montón de grupos metl progresivos que suenan muy bien, cantan en inglés y parecen salidos de Europa, y acá vamos presentando a cada uno de ellos, y esta es otra banda de esas características...






El sonido de la banda, o por lo menos lo que yo me he atrevido a escuchar porque no lo escuché entero (ya saben que me aburre el estilo) es muy Symphony X. Hay once temas, el último de los cuales lleva el nombre del álbum y dura 23 minutos, dando lugar a mucho en la tradición de la experimentación en el género (el progresivo en todas sus formas) plagado de canciones largas. Con varios elementos del power metal, riffs cargados y esa bateria metalera que personalmente me da más repulsión que otra cosa... y disculpen los metaleros, sobretodo si son bateros, por más que estén años perfeccionando el retumbar perfecto del doble bombo, no sé si quedarme con eso o con el martilleo continuo de la demolición que están haciendo aquí a la vuelta.
Todo lo demás suena interesante, siendo una obra relativamente refinada, siendo su primer discos es un debut de calidad, así que invito a amantes del género a conocer estos nuevos duros del rock brasilero... aunque de brasilero suene poco.

Vamos con los consabidos comentarios de terceros, aunque en castellano no encontré nada.

O Metal progressivo tem a vantagem de ser um gênero que possibilita algumas ousadias que às vezes não encontramos em outras vertentes. No Brasil, temos agora mais um representante do estilo com potencial para alcançar ótimos resultados. Formado em 2008, o gaúcho Daydream XI acaba de lançar seu debut, por meio da parceria com o selo alemão Power Prog. O trabalho foi produzido por Jens Bogren (Symphony X, James LaBrie, Opeth) no estúdio sueco Fascination Street. Para um material de estreia, “The Grand Disguise” soa bem elaborado e profissional. A preocupação com as composições é clara, resultando em uma cozinha técnica e bem amarrada. São onze faixas, sendo que a última carrega o nome do álbum e tem duração de 23 minutos, levando ao máximo a tradição do gênero na experimentação em músicas longas. A influência de Symphony X é notável e talvez por isso algumas faixas acabem perdendo o destaque. Mas em compensação, outras trazem um toque original, que com certeza poderá ser aprimorado nos próximos trabalhos. O vocal de Thiago Masseti é um dos pontos fortes e soa limpo, levemente rouco. Um dos fica com “Phoenix” e seu andamento bem aproveitado e uma pegada mais Dream Theater. A dupla de guitarras faz um ótimo trabalho, principalmente nos solos bem conduzidos e com certo feeling. “The Guts Of Hell” soa mais destacada em relação ao resto, pelos riffs carregados e bateria veloz. Sem largar mão do lado melódico, o grupo sabe explorar bem as variações de tempo e em alguns momentos resgata elementos do Power Metal, como em “Watch Me Rise”. Já “The Age Of Sadness”, traz um clima mais suave com piano. A sequência das músicas, por sinal, foi bem pensada, fazendo com que o todo soe interessante. Um trabalho refinado, que nem parece um “debut”, pela qualidade. Vale a pena acompanhar.
Laura Gallotti


Brazil’s scene has been going strong for decades now, spitting out high-calibre acts in pretty much all styles, but power metal always has been a stronghold for the South American country. After one EP and a single, Porto Alegre’s Daydream XI are now offering us their full-length debut The Grand Disguise and some may recognize singer/guitarist Tiago Masseti’s name from his other band Magician. While following down a similar path with its progressive power metal, there still are enough distinctive differences to set the two bands apart, with Daydream XI ultimately gaining the upper hand.
One of The Grand Disguise’s biggest feats is to bring a lot of variation into the songs without really getting “progressive” (making the categorization as progressive power metal potentially a little misleading) and one of its biggest assets undoubtedly is Tiago’s voice, which really manages to elevate the already strong compositions. An opener’s main task is to sink the hooks in, draw listeners in and get them to buy the CD and “Keeping the Dream Alive” is doing an awesome job at this, flowing between mid and up tempo, with superb melodies and drive, but without neglecting the heaviness.
The album seamlessly flows between different tempos, complementing pounding drums and heavy guitars with beautiful melodies and outstanding vocals, some with more progressive undertones, while others take a more direct route. “Like Darkness Rules the Night” excels with a brilliant chorus and great dynamics, “Watch Me Rise” emphasizes the straighter, more powerful side of the band, whereas galloping “The Guts of Hell” reminds a bit of Germany’s Angel Dust in places, showing the band’s versatility.
Everything pales in its ambition, though, to the closing title track that clocks in at almost 24 minutes and only few bands know how to pull off such a monstrosity of a song without getting tangled in the many potential pitfalls of a song that long and Daydream XI avoid these masterfully. Covering the whole spectrum from acoustic guitars to full double-bass attacks, “The Grand Disguise” shows both restraint and bold colours, painting a highly varied picture that shows plenty of details within, with intricate technicality giving way to sweeping instrumental passages, never really making the listener realize what a mammoth of a track this is!
Completed with a clear and balanced production, Daydream XI have all the pieces in place to make an impression in the somewhat progressive power metal scene, especially since they have an excellent vocalist in their ranks that manages to heave the songs to the next level.
The Grand Disguise is a great debut that shows the potential these Brazilians have in at times already impressive fashion. Dynamic flow, soaring vocals, great melodies and a good crunch come together into a grand whole that will take many genre fans (and colleagues) by surprise. Daydream XI are not just a fleeting attempt, but a force to be reckoned with within the power metal scene and this is just the beginning---!
Alex Melzer

South America is one of the hotbeds as of late when it comes to Heavy Metal in general, but seems to have a special affinity for everything Power and Progressive Metal related. Hailing from Brazil, the quartet DAYDREAM XI began their journey in 2005 under a different name OSMIUM, but in 2008 changed to their current moniker. Over the next two years they released their “Humanity’s Prologue” EP and “The Guts of Hell” single. We finally get their debut album “The Grand Disguise”, an 11 song album that has a mixture of shorter constructs as well as the closing 23 minute plus title cut that should be very appealing to those who’ve loved these genres for decades.
Going to Sweden to produce this album with Jens Bogren (Fascination Street studio) already gives DAYDREAM XI a huge lift in terms of the final product: the listener will get to hear all the instrumentation and technical prowess at crystal clear impact. Guitarist Tiago Masseti handles the vocals, and his voice has that depth that listeners of Russell Allen from SYMPHONY X will love – check out his multi-level register on the heavier, semi-staccato “Like Darkness Rules the Night” or the majestic, galloping harmony loaded “Phoenix” for his confident command and control.
Musically the band certainly are proficient to have a lot of qualities similar to DREAM THEATER and SYMPHONY X – but I also believe they are very much into the Power harmonies that make ANGRA long time favorites. Drummer Bruno Giordano has impeccable timing – studying the likes of Mike Portnoy as well as Sweden’s EVERGREY on a highlight such as “Zero Days” where the riff stack ebbs and flows and he needs to weave in groove with furious technical fills and transitions. Smartly putting a ballad in as the tenth track “Alone” sets you up for the 23 minute plus title cut.
Expect superb bass soloing, dynamic transitions from furious Progressive interplay into solemn, quiet, introspective clean sections – as well as a bluesy vocal performance from Tiago that rivals David Coverdale in his prime. Not a lot of bands can keep your attention for 23 minutes and 40 seconds, but DAYDREAM XI succeed because they know how to make the individual sections flow together and not stay stuck riding a hook or chord combination into the dirt. Those who love longer arrangements full of twists and turns, extended instrumental sections, and pushing all abilities to the Progressive Metal limits will find this song one of their favorites.
“The Grand Disguise” is worthy of praise, detailed attention, and numerous listens for decades down the line.
Matt Coe

Brazilian band Daydream XI was formed in 2008 and released their first EP a year later. However, musicians took about 5 years to prepare and record the full-length release “The Grand Disguise” which which was released by Power Prog Records on September 27th, 2014. The music that the band plays requires a lot of time and efforts because a real good Progressive Metal should be technically flawless and well-composed containing many melodies and ultra-skilled instrumental parts. Musicians here are able to bridge all difficulties and create a worthy album which fulfills all requirements of Prog Metal. It is hard to avoid comparisons with Dream Theater in this case; however, they have influenced most Prog Metal bands. Daydream XI is not an exception and they have some impacts recalling them but I hear more influences of another US band, Symphony X. Brazilians also have many Power Metal elements in their music, especially with German act Masterplan.
The singer Tiago Masseti reminds me Jorn Lande, Russell Allen and Mats Leven, he has a really powerful voice with a wide range. I usually don’t like Dio-influenced vocals but Masseti is an exception and his work here absolutely satisfies me.
The other musicians are also adequate. Guitar parts are well done but the main surprise is an interesting and inventing bass and several bass solos are quite bright and exciting. Drums are quite good assigning constant rhythmical changes. Synthesizers are used at the background and the lack of keyboard solos is one of fewer flaws to me. Yes, there are many good guitar and even bass solos but Brazilians fail somewhat here to Prog Metal titans with their ultra-technical guitar-keyboard duels.
All of the songs are decent and have their own strong and impressive moments. I like the driven up-tempo Power Metal elements and enjoy the complicated musical structures and at times unexpected changes of the mood, they are impressive and the album does not become boring despite running 77 minutes long.
The opening track “Keeping the Dream Alive” presents dynamic Prog Power with some modern touches. I could highlight cool speed-ups and catchy melodic moments. Then comes “Like Darkness Rules the Night” which is slower and more Progressive with some Hard Rock touches but contains some really nice parts. The third track “Watch Me Rise” is fast, has more Power Metal influences and not too complex. The chorus is bright and melodic; I also enjoy shreddy harmonic guitar solos. It is an excellent number that demonstrate everything I like in Prog Power. “The Guts of Hell” is slightly weaker; it is driven, heavy and has good background arrangements.
“The Age of Sadness” starts with calm piano intro, however this is not a real ballad, it’s melodic and less heavy with some Prog Rock influences, which becomes more dynamic in the middle. Interesting and unordinary number, I like it. Some moments in “Wings of Destruction” reminds me Elegy, especially vocal melodies in chorus. But it is remarkable by bass solos that are quite good, I am glad that this band use bass guitar as a full-fledged instrument because it is uncommon even for Prog Metal bands. The main guitar riff in “About Life and its Ending” is something like Rage’s “Straight to Hell”. Not bad at all but possibly not so impressive as most of the other tracks.
The eighth song “Phoenix” is melodic and slightly up-tempo but it differs from others; it is unexcitingly bright and positive and has awesome melodic shred guitar solos in Romeo and Petrucci traditions. The singer uses higher vocals that also work well here. “Zero Days” is another decent song where I could mention interesting pre-chorus melody line. “Alone” is a ballad, it is sad, a bit atmospheric and contains some string arrangements and bluesy solo. This is the only song that does not impress me here, just an ordinary slow and calm number.
Contrary, the last title track “The Grand Disguise” is an extraordinary huge Epic which consists of many different parts. It is an excellent variable track with dozens tempo and melody changes, the real Progressive Metal Epic in the best traditions of such epics by Dream Theater and Symphony X (I could easily compare it with “The Divine Wings of Tragedy”), there are a lot of outstanding guitar solos and magnificent choruses, some parts are really fantastic and awesome. At last, it is not boring at all despite of more than 23 minutes. This is the best song here without any doubt and it is impressed me very much.
So Daydream XI is a new but a very promising name in Prog Metal scene. Their debut album is almost flawless; it is a solid and professionally made work. It is a must-have release and I am sure no Prog Power Metalheads will be disappointed.
Egor

It's no small thing to be invited to Mike Portnoy's inaugural Progressive Nation at Sea Festival, but Brazil's Daydream XI made the cut. While not on the headline stage, the band was invited to join 16 other bands on the newly created New Millennium stage for up and coming acts. And all this occurred before the release of the first full-length album, The Grand Disguise, which is before us today.
Considering the breadth and depth of Portnoy's skills and experiences, one wonders what he found intriguing about the band. Obvious comparisons can be made to their influences like Brazil natives Angra, but also the gamut of progressive power metal from Dream Theater to Symphony X. Considering the general heavier character DXI probably leans more to the latter and falls in the general category of contemporary European power prog. Maybe he just liked the 23 minute opus that is the title cut. While it has its speedier moments this one song leans more toward traditional progressive metal.
But, generally, most every song is characterized by the heaviness and briskness of power prog metal. Early on Keeping the Dream Alive, Watch Me Rise, and Guts of Hell rush and rumble along assertive speed born by flailing drums and sharpened by razor riffs. After these things the other immense element is the equally brisk and soaring guitar solos; The Grand Disguise is definitely an album for those who love lead guitar.
At this point it's enough to say, "just push repeat" for the rest of the album. There may be some exceptions. Upon first listen The Age of Sadness seemed to back down on the heaviness and razor riffs for something with a more accessible rock groove, but I was mistaken. Though there is something catchy about the refrain. But, Alone definitely breaks the mold of the album, offering some more gentle and light, moving mostly by vocals and the combination of acoustic and electric guitars. It precedes the final, aforementioned, title track, and easily became my two favorite ones here, followed by Keeping the Dream Alive, Like Darkness Rules the Night, and Wings of Destruction. Ultimately, Daydream XI hits what they're aiming for, The Grand Disguise is straight forward, interesting and entertaining, melodic progressive power metal in the best tradition. We can only expect more and better from this talented band.
Craig Hartranft

I can’t say I have been much of a fan of Brazilian bands, except maybe for Sepultura. That changed with my introduction to Daydream XI with their debut album The Grand Disguise on Power Prog Records.
For some reason, Brazil hasn’t produced any Power or Progressive Metal bands that appeal to me, even the more well known groups like Angra (though Almah’s album last year was decent). Daydream XI may have changed that having written and recorded a quality Prog Metal album that, while expertly executed, isn’t much new or groundbreaking. That said, it’s still an enjoyable piece of work and definitely a listenable album for fans of the genre. There is a significant Symphony X influence to be found here, not necessarily a bad thing.
Keeping the Dream Alive is your typical, but engaging, opening track for a Prog Metal album. Relatively heavy riffing, some odd time signature employment, very much Symphony X-like at times even. The band is clearly talented and benefit from high quality song writing and execution. Singer Tiago Masseti has a pretty good range, from an enjoyable mid-range timber and able to hit some higher notes without sounding like he is straining. His guitar work, along with Marcelo Periera, is well constructed with melody and great riffing. The band’s performance is consistent throughout the album, with very few low spots. The following tracks are excellent tunes – Like Darkness Rules the Night, Watch Me Rise (speedy little number), and The Guts of Hell (pummeling) just scream Symphony X to me.
The song that really speaks to me, though, is the ballad-ish The Age of Sadness. Now I am usually more prone to prefer the heavier songs, but this one is so well crafted that I can’t help but totally love it. It is still definitely a Metal song, featuring an infectious chorus that has me humming it long after hearing it. The next several tracks are decent enough, About Life and Its Ending being the best, but aren’t quite as strong as the first handful. They aren’t bad by any means, just not as compelling as the earlier songs. The other ballad, Alone, is also a nice enough song, but doesn’t do a whole lot for me. I find myself usually skipping it. The album concludes with the 23 minute long title track. Fortunately Daydream XI doesn’t waste five minutes building up into the song, rather launching right in to a quality Prog Metal instrumental during the first several minutes, with both heaviness and more subdued parts. Be sure to catch the bass work by Tomas Gonzaga during this section. Of course the band attempts the epic approach on the song, at times succeeding quite well. At least it doesn’t sound like they are trying too hard. A 23 minute song, though, is way too long. I could see the musical ideas here split into several shorter tracks, but lyrically it’s a complete piece.
Coming in at nearly one hour and twenty minutes (!), this album is far too long. It is certainly ambitious and perhaps this should be considered to be a double album. Either way, be prepared to invest a lot of time to listening. The band has a significant amount of talent and potential, they just need to further define their own sound. If you enjoy the Symphony X style, you’ll dig Daydream XI’s impressive debut album.
Harley

Pueden ver (oir mejor dicho) si les gusta el álbum escuchándolos en su espacio de Bandcamp.

Facebook: https://www.facebook.com/DaydreamXI
Twitter: https://twitter.com/daydreamxi
YouTube: http://www.youtube.com/DaydreamXI
Soundcloud: https://soundcloud.com/daydream-xi

Medio que desentonan este tipo de discos en el blog, no? no porque sean metal, sino porque parece bien europeo, pero es brasilero, créanme, esto también es latinoamericano!




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Ideario del arte y política cabezona


"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.