ORISSA ‘Resurrection’ Review; Video Premiere


(By Pat ‘Riot’ Whitaker, Lead Journalist/Writer, RiffRelevant.com)

New York’s Orissa are most definitely on the move with their imminent full-length album release, “Resurrection“. It will drop on November 3rd and based on what I’ve culled from my own listens to it, it is going to impress innumerable people. Plus, it was mixed by Sahaj Ticotin, (RA; Meytal Cohen; Adekain; September Mourning) and mastered by Paul Logus, (Stone Sour; Steel Panther; Shadows Fall) so you know the sound quality is superb.

A good thing too because the music is impressive as all get-out. David Dodini (Vocals, Guitar, Bass, Virtual Instruments), crafted the album, arranging and writing all of the music and lyrics. He was joined by some of the finest N.Y. session musicians on the recording – Jason Gianni (Drums); Gary Pickard (Flute; Saxophone) and the internationally renowned Raquy Danziger (Dumbek). David Dodini excels at crafting intense, emotional progressive rock. The music contains an abundance of textures and channels a world of organic feeling and depth.

There are clearly a wide variety of influences at play on Resurrection but the music itself is a stand alone entity. Sure, it’s in a vein of styles explored by a diversity of acts ranging from Tool or Dream Theater to Caves Of Utah and Quicksand but that’s where any comparisons end. That is to say that this music is a stewing hodgepodge of the aforementioned Prog Rock but with abundant injections of Alternative or Post Rock, melodic Metal and a bit of Psychedelia. It defies routine, mundane labeling as it blazes its very own fusion-derived trail.

After a brief intro titled “Circle“, things ignite with “Tara” (Lyric Video below), a grandiose number with epic composure and far-reaching scope. Semi-buzzing guitars are always engaged with reverberating riffs as the music achieves a spiraling-like quality at times. Both the effortless vocals and amazing drum work lend themselves to providing a breathtaking start to the record.

The range of feeling that this music evokes in the listener is like a roller coaster ride of winding curves with unforeseen highs and lows. There is the powerfully tranquil, touching “Shades Of Gray” and amazing “Psalm I“. The latter’s minimalist acoustics and vocal accompaniment, with periodic flutes, is an incredibly moving number.

Yet for every calm moment, or somber space on the album, there’s an equally profoundly animated one. Sometimes the energy is sedate, kept in check and tampered down somewhat. Such is the case with “Verse V” and the record-wrapping “Blue Communion“. This album closing cut alternates between varied degrees of energy, time changes, tempos, etc. and is an amazing ending piece. At over fifteen minutes in playing time, the song renders one of the highest points of the album and leaves you wanting more.

Check out “Tara” and the “Resurrection” title track now and receive just a taste of the magnificent content contained on Orissa‘s upcoming full-length release. It is a poignant game-changer in my book and it will be released on November 3rd.

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