FEATURED ALBUM: D.F.A. - 4th

[Poisoned Youth]

Released in 2008, this album is now 10 years old. By this time the band already had a few critically acclaimed releases, but (in my opinion) 4th was the album where the music matured and the result was a culmination of their work to date. It has aged pretty well.



Review from ProgArchives

Third studio album from this Verona quartet with an unchanged line-up, although their lengthy silence had us fearing the worst as it had been almost mime years since Duty Free Area. Aside from some erratic festival appearance and a Live album dating from '02, the only thing we had was their new label Moonjune re-issuing in '07 their first two album in a compilation with bonus live tracks, but it left us clueless as to their adventures. Rest assured in the spring of '08 cane out their fourth album (in all) with a rather ugly squared off artwork, but the music was anything but worrisome, because the main songwriters remain drummer De Grandis and keyboardist Bonomi.

Indeed, musically DFA is still sounding quite the same as they did in their first two album, developing a symphonic jazz-rock somewhere between Canterbury (I am thinking of the US group Volaré) and Gentle Giant, and the opening Baltasaurus fits exactly that description. After the much gentler (if you'll except the crunchy riff guitar) almost 8-mins Flying Trip, Standing out a bit, the almost 7-mins Vietato Generalizzare is more in the ELP or Egg mode, even though there is plenty of guitars, but the organ fireworks is more reminiscent of early Emerson or early Dave Stewart. The obvious centrepiece' of this album is the 19 minutes Mosoq Runa, which was long in to finalize as its writing dates back from '04, but it's obvious that keyboardist Bonomi is a slow worker in these matters, but his results are outstanding. This is a piano (ac or el) gargantuan feast (as well as other KBs) with the odd flute bit that never stops dazzling and the added string arrangements (just a cello and a violin) bring it even more to notice.

The last two tracks are sung, the first by drummer De Grandis and in English, but it comes down to one verse at the start of the 10 minutes of The Mirror, so soft you don't really realize it. The track is mostly an improvisation in its second part, disappearing into a drum solo. The closing track is quite different, Ballate starting on some Hackettian guitar lines, before triple female folk & classical (polyphony) vocals and string arrangements. It is a bit "hors-propos" from the usual DFA, and I'm glad they left it out until last on this album, so it doesn't disturb the album's smooth flow of the other tracks. Well almost nine years after Duty Free Area, 4th is much in the same, probably a tad better. DFA is probably my fave Italian band from the 90's and 00's and is consistently at the top, even if there was a quiet period. - Trane

[Scrotum Scissor]

Loved it on release, still think highly of it. And of them in general. They were always good, but by this point they'd become one of the finest of their kind - the vein of seriously fusion-tinged modern progressive rock. Rarely do I hear this sort of thing done at this level of refinement and vitality with such apparent ease; they would gradually develop and elaborate on ideas, themes and whims, scrutinize arrangements and come up with final results which always sounded fresh and breathing - and consistently expressing a pure joy of play. They were, perhaps more than anyone else I heard from the 2000s, the modern day equivalent of a National Health.

I miss them, but I'm grateful for what they left behind. I'll NEVER tire of that intense sense of ecstatic dynamic, De Grandis' extraordinary drumming and attention to detail, and that exquisite keyswork of Bonomi. Who left all too young and sudden. A fantastic release; hell, even the infamous "prog"-haters over at The Wire acknowledged this - and stressed the brilliance of the closing track, "La Ballata De S'isposa 'E Mannorri", based on a Sardinian folk chorale. I could listen to that one forever.

[Facelift]

I'm a fan.

[Sputnik]

Not my favorite DFA (that would be their second album), but I like this one quite a bit. Time to give it a fresh spin, haven't heard it in a long time. It's a long album, and there's material here I love, and some I don't like as much. I don't personally hear it as a "maturing" but rather a diversifying of their sound, and experimenting with some new things. For me, some of those experiments work, others don't. But maybe a spin today will hit me differently than 10 (seriously?) years ago.

Bill

[TCC]

I'm a fan.

+1
Good call!!

[aith01]

This is the only D.F.A disc I have, but it's a great one. Actually got it before any National Health (weird, I know), but going back after hearing NH, I do hear the similarities.

Some really lovely, challenging music to be found here. It's such a shame about the loss of Bonomi; he was so talented. Some of the keys work on 4th was stunning. I still remember the first time listening to Baltasaurus how wild some of those synths sounded at the time.

Queueing it up now for tonight. It has been a long time since I listened to this one.

[Trane]

I played Duty Free Area a couple of months back, but somehow didn't get the urge to listen to this one as a consequence.

Surely I will spin it this w-e, though.

[Scrotum Scissor]

This album would actually fit perfectly on four vinyl sides, but alas it'll unlikely ever happen it works well when played in four portions.

[Supersonic Scientist]

Great album and band. As said above, a fine mix of Proggy/Fusion of the highest order. A real treat to have seen them at NFest back-in-the-day.

[Zeuhlmate]

Great album !

Last track 'La Ballata De S'Isposa 'E Mannorriis' with the Sardinian womans choir is my favorite.

[Zalmoxe]

My favourite DFA. Was heartbroken when I heard that Alberto Bonomi has tragically passed away. 4th is very near the top of my desert island list of fusion albums.

[MYSTERIOUS TRAVELLER]

my favorite style of Prog is when a band mixes the Jazz Rock style and the Symph Rock style seamlessly

DFA are one of those rare artists that hit the nail on the head

[bill g]

my favorite style of Prog is when a band mixes the Jazz Rock style and the Symph Rock style seamlessly

DFA are one of those rare artists that hit the nail on the head

Yep.

[Steve F.]

Very good band with a real tragedy of an ending.

[Scrotum Scissor]

Fascinating, yet disconcerting, to note the general indifference in here towards a band who were in their (rather recent) time considered an ace exponent of contemporary stylings in "prog rock". I suppose it only goes to show.

[Udi Koomran]

bought it when it came out yet never warmed up to it...
a revisit is in order

[battema]

Fascinating, yet disconcerting, to note the general indifference in here towards a band who were in their (rather recent) time considered an ace exponent of contemporary stylings in "prog rock". I suppose it only goes to show.

In truth, I am a fan but never fully connected with this particular album (the 2nd remains my personal favorite, probably because it was the newest one when they played NEARfest, and because Alberto from DeM contributes vocals). Since the thread was more about this particular album and not the band as a whole, I was going to refrain from comment and instead just lurk.

That said...the lack of connection was more down to my own bias regarding jazz/rock at the time. Given some years and a bit of maturation/growth in terms of listening, probably time to give this another stab.

[simon moon]

It has aged pretty well.

It has aged extremely well!

All their albums are great, this is the best.

Makes one wonder what their next could have been like...

[Yves]

Loved it when it came out but I kinda got away from this style over the subsequent years. Revisited it recently and thoroughly enjoyed it. Just have to be in that mood...

[Scrotum Scissor]

In truth, I am a fan but never fully connected with this particular album (the 2nd remains my personal favorite, probably because it was the newest one when they played NEARfest, and because Alberto from DeM contributes vocals). Since the thread was more about this particular album and not the band as a whole, I was going to refrain from comment and instead just lurk.

Thank you for complying with my authoritative directive and checking in, John. Normally I'd kick your ass so thoroughly you'd never reach this year's Morse appearance at Big Ears, but seeing how it's you, I'll abstain and pardon.

Seriously, I used to love Duty Free Area more. And I still think "Caleidoscopio" was their best overall song; there's no end to nuance and layers and thematical variations in that tune, still it sounds as if they're simply out on a short jog. "Esperanto" (w. Piras) is fantastic as well, and "Malia", the closer, is one of my fave closing tunes on any album - save for the Sardinian chorale on 4th.

But the latter record was more of a grower. It dived further into post-Hillage'ian/NHealthic space-rock/fusion mergers, yet it also opened a couple of new doors which were at least uncommon for bands of their ilk. I clearly remember how the album's reception was far from the universal enthusiasm of the first two (for instance on the Babyblaue seiten), but I dug it instantly - knowing that it would eventually pay off to keep listening.

The only other group successfully attempting anything quite akin to this that I know of, was French quartet Priam; their second release, Diffraction (from approx. 15 years back) is recommended for people into D.F.A.

[nosebone]

I put both DFA albums in my phone for the car, after reading this thread.

Its been too long since my last spin.

Fantastic musicians, but never really warmed up to their busy knotty arrangements.

I'll get back with a fresh perspective...

[Scrotum Scissor]

busy knotty arrangements.

That is a good description either way.

We're in a day and age where a reviewer (in 'Prog Mag') of a London "prog" fest can get away with calling Sanguine Hum 'avant-garde', which begs the question as to how an audience would even be expected to begin to comprehend the stuff of a D.F.A. or a Deus Ex Machina or a Koenjihyakkei or a whatever.

[Zappathustra]

That's the only DFA i have listened to, and while it is easily a very-very good album full of chops and great ideas, I will also sign up to the "never really warmed up to it" camp. I think it has to do with the production and the sound of the album: too clean for my taste, it sounds more like a modern jazz album than a rock record - which doesn't do justice to its content. That's my only complaint, but it's a big one, it doesn't allow me to fully connect.

I prefer Accordo dei Contrari in the same vein...

[battema]

Thank you for complying with my authoritative directive and checking in, John. Normally I'd kick your ass so thoroughly you'd never reach this year's Morse appearance at Big Ears, but seeing how it's you, I'll abstain and pardon.

Seriously, I used to love Duty Free Area more. And I still think "Caleidoscopio" was their best overall song; there's no end to nuance and layers and thematical variations in that tune, still it sounds as if they're simply out on a short jog. "Esperanto" (w. Piras) is fantastic as well, and "Malia", the closer, is one of my fave closing tunes on any album - save for the Sardinian chorale on 4th.

But the latter record was more of a grower. It dived further into post-Hillage'ian/NHealthic space-rock/fusion mergers, yet it also opened a couple of new doors which were at least uncommon for bands of their ilk. I clearly remember how the album's reception was far from the universal enthusiasm of the first two (for instance on the Babyblaue seiten), but I dug it instantly - knowing that it would eventually pay off to keep listening.

The only other group successfully attempting anything quite akin to this that I know of, was French quartet Priam; their second release, Diffraction (from approx. 15 years back) is recommended for people into D.F.A.

Yeah, those are pretty much exactly the same tunes from DFA that I love so much (and I very much concur with your descriptions). Even with Leone instead of Piras singing at NEARfest, it was so cool to hear those songs done live.

I will definitely go back and revisit 4th

[Sputnik]

That's the only DFA i have listened to, and while it is easily a very-very good album full of chops and great ideas, I will also sign up to the "never really warmed up to it" camp. I think it has to do with the production and the sound of the album: too clean for my taste, it sounds more like a modern jazz album than a rock record - which doesn't do justice to its content. That's my only complaint, but it's a big one, it doesn't allow me to fully connect.

Interesting observation about the production. That may be a factor in my enjoyment as well, though I'd never recognized it. Spun the album a couple of days ago and as always, I like it, and I recognize all the elements that I love about DFA being there. But I just don't connect with this album like I do with the first two. And I wonder if part of it isn't the sound, which isn't as "puncy" and "electric" as the earlier records.

Sadly, I also don't care much for the last track with the choir very much, so it always ends on kind of a dud note for me. I actually made a CDR of this album that only has Baltasaurus, Vietato Generalizzare and Mosoq Runa on it. About 40 minutes of the music I like best from this album. I think I'll spin this in the next few days and see if it grabs me a bit more, see if I can give it some closer attention too.

Still, I miss this band a lot.

Bill