Dominici - O3 A Trilogy - Part 2
Year of Release: 2007
Catalog Number: SPV 79342 IOMCD 272
Total Time: 00:00:00
It truly sounds as if this material was influenced by the following bands: Fates Warning, Dream Theater, and Queensryche.
As I listen to this album, I would venture a guess that Jim Matheos, Derek Sherinian, John Petrucci, and/or Geoff Tate were in on this project. On occasion, you would even think this was another initiative from the Office of Strategic Influence (aka OSI). The greatest difference between these littermates is that this puppy features some very fine vocals. Not that Kevin Moore's vocoder is unappreciated. It's just that this singer's pipes are clean and his plumbing boasts a lot a lot of extra pressure.
Take a quick glance at the paternity records and you might be stupefied by this breed. Have you ever heard of Riccardo Erik Atzeni (bass), Americo Rigoldi (keyboards), or Brian (guitars) or Yan Maillard (drums)?
Nevertheless, this is a new contender that borrows from the cream-of-the-crop. Upon inspection, they can hold their own in the ring. In addition, the number one groomsman and best man was actually in on an earlier version of the aforesaid. That would be none other than Charlie Dominici who sang on Dream Theater's When Day And Dream Unite. He also operated as the singer at Mike Portnoy's wedding. No, seriously! While the debut is relatively well-known to fans, you'll be dumbfounded to find out that the second entry in this journal is also a statement of fact (at least if my sources are reliable).
On the whole, the album is comparable to Scenes From A Memory and Operation: Mindcrime. Maybe these Athenians have established a new empire as this exceptional album ascends to the halfway point of the pyramid. The only thing to consider is that while this is the second step, the anterior pressing is more difficult to secure. Part One is on all-acoustic one-man-show set ashore on a desolate label incorporated by Dominici himself. Part Two, on the other hand, comes from the ever-growing continent of InsideOut Music America. For most, the prelude will be missed while the sequel will become the principal point of departure.
I have to tell you, this is powerful and formidable stuff. Dominici's voice harnesses the impetuous vibe of Russell Allen or John Arch. As a result, he is judge, jury, and executioner in this journey. His voice is so strong, once could say he's been reborn as The Punisher. It's so sleek; it may also be seen as a sign of the fantastical rise of The Silver Surfer.
While I haven't heard of his partners, these strident riders are as arduous as The Four Horseman. The bass and guitars crunch like bubble-wrap. The keyboards, conversely, cut through the steel like butter. Everyone, even the drummer, has their own ignitable solos. They keep you on alert throughout the entire hayride.
Likewise, there isn't a weak chink in this chain-mail. Upon every listen, there is a different riff or verse that gets me. After it's undergone a rigid stress-test, it's hard to say which link holds up the longest. They've come through the trauma without much conciliation. I also like the storyline, the soundbytes, and the methodically epigrammatic dialogue. It might be hard to interpret, but no time does it mark a momentary lapse of reason. It's obvious every detail is deliberate even if it's not intuitive. This kind of reminds me of that sci-fi horror movie Night Watch, but to be fair, this is significantly more coherent.
So that you don't walk away without a schematic, key, or a clue, let's quickly flip through the scenery:
"Nowhere To Hide" is a fugitive's worst nightmare. Dominici's voice is underground and in the trees. Literally, it's everywhere.
"Captured" is bottled up like a shaken can of Coke. It's tentative, reserved, and ready to burst at any time.
In "Greed the Evil Seed," Marc Antony will try to feed the kitty. Between Gossamer, a Were-Rabbit, and the super-sized Mr. Mouse, this hare-raising toon is looney.
"School Of Pain" is pretty mean and potent. With enough room to run, it gives each escapee a chance to flee.
"The Calling" and "The Real Life" are fundamentally sound, but by no means routine. For this feast they provide Tofurky, a soy-based gravy, and grits.
"The Monster" and "The Cop" are highly listenable as well, and with certainty, they're the most integral part of the report. This duo goes together like Sonny and Cher, and if forced to choose, these would be the only pair trusted with the clandestine plan to go AWOL.
At the end, "A New Hope" happily succeeds the lowest of low notes just like the celebrated intergalactic space odyssey and soap opera.
After several sittings, it's obvious the concept is about a baddie and the law enforcement agent who tries to bring him to justice. At times, you can feel the plight of the captive, his victims, and our champion. Fortunately, there is nothing to fear. With Dominici assigned to be the guardian at the gate, the future of the Progressive Metal society is safe.
The Monster (8:28) / Nowhere To Hide (5:06) / Captured (4:16) / Greed, The Evil Seed (7:27) / School Of Pain (7:23) / The Calling (6:40) / The Real Life (3:28) / The Cop (4:49) / A New Hope (6:53)
Charlie Dominici - vocals
Brian Maillard - guitar
Yan Maillard - drums
Americo Rigoldi - keyboards
Riccardo Erik Atzeni - bass
O3 A Trilogy - Part 1 (2005)
O3 A Trilogy - Part 2 (2007)
O3 A Trilogy - Part 3 (2009)
Genre: Progressive-Power Metal
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