Magle Intl. Music Forum, Denmark
ProgNaut, USA, USA
MLWZ, Radio Alfa - Poland
MLWZ ( Poland), Silhobbit ( England )
Dutch Progressive Rock Page
Sea Of Tranquility , USA
Metal Nose, Holland
Music Street Journal, USA
Music In Belgium , Belgium
Metal Heart Webzine, France

ArtRock on Magle Intl. Music Forum

Dorian Opera is the original name chosen by four German musicians for their band who have just released their debut album No secrets mid 2008. I have reviewed a solo album by their keyboard player Andrew Roussak (No trespassing) before. For more information on this band (and music samples) see their web sites:

The album - song by song:

1. Ouverture (6:40)
Starting with white noise and the sound of breaking glass, an impressive instrumental opener enfolds. The music shows some influences of light metal (think Riverside, Porcupine Tree), but does not sound derivative. After about 3 minutes the track explodes in a short synthesizer extravaganza, only to give way to a wonderfully effective middle part with astonishingly interwoven samples from speeches by Bush on Iraq. Screams lead us back to a really rocking part of this instrumental with some very melodious parts as well, and a final coda. Excellent guitar work by Oliver Weislogel throughout this track. Probably my favourite track on the album.

2. Sacrifice (5:22)
The first vocal song sees lead singer Joe Eisenburger kick in with a voice that is very suitable for the music. The thrust forward throughout the song is awesome, and there are some highly melodious more quiet interludes to provide variety. The lyrical theme is ambiguous -after the first track, the link to war is tempting but it could also be more general about sacrifice.

3. Tell me your lies (6:48)
We enter more heavy territory here in the introduction, with some excellent keyboards by Andrew Roussak, but once the singing starts, the mood becomes more reflective. Great melody, well sung (excellent backing vocals as well), and marvellous guitar work once more throughout this song (love the repeat of the theme around 5 minutes). The end comes unexpectedly but works very well. Once more the lyrics sit on the fence - there is a potential Bush link in the title, but also a more general interpretation works.

4. Dead or alive (4:30)
A clear shift in mood with a strings dominated introduction, but quickly we are rocking once more. The chorus is particularly appealing, but the sound could ideally have been a bit more open here. There is a sense of urgency throughout this song which reflects the lyrics about a man framed for murder. I like the closing out, where the strings return and sound effects are used wisely. Kick-ass guitar play again in this song, be it this time by special guest Michael Brettner.

5. No secrets (4:11)
The title song starts off with some great drums play by Harry Reischmann, after which the guitar sets the scene for yet another great instrumental track. A nice change of mood follows with great melodic lines on the guitar. A really great instrumental and all in all maybe the best sound recording of the album. This should be a treat at concerts as well!

6. Little lies (5:58)
More light metal riffs introduce a song where multilayered vocals are used prominently. Good melodic variations in this song. I like the (only too short) keyboards-led middle part around 4 minutes very much. Lyrically, we are clearly back to the Iraq theme here (Happiness and freedom can't be ever based on lies). Excellent track.

7. Fly with me (4:57)
After the heaviness in themes and music so far, this is a beautiful interlude. Astonishing acoustic guitar work introduces a song that borrows strongly from baroque classical msuic to wonderful effect. The voice of Eisenburger is suited for this more calm ballad as well - lyrically we are very far away from the war suddenly, and actually travel back in time to the courts of the middle ages. The chorus remains calm with great backing vocals, and a superb melodic line. Wonderful close out by acoustic guitar once more.

8. One of these days (6:18)
And we are back to the thrusting rock that dominates most of this album, and once more a chance for Weislogel to shine on electrical guitar. It is a good enough song, but for its length, I would have preferred a bit more variety. The lyrical theme is very actual, youth getting lost in virtual reality fighting games and then copying that one day in real life.

9. Truly yours (5:31)
Perhaps my least favourite track of the album, especially due to a melody line that is distinctly unimpressive. The sound also sounds more congested here to my ears than on other tracks, and the drums seem out of sync somehow (could be just me). That said, the interplay between guitar and synthesizers around 3 minutes is excellent, and the original ending saves the song.

10. She (6:11)
The regular album closes out aptly with another great rocker, where once again light metal instrumental parts and more subdued melodic singing lines alternate. In line with previous songs, guitars and keyboards shine, and once more they opt for a good closing line rather than a fade out. Somehow this song reminds me of Uriah Heep, one of my favourite seventies bands - although it is by no means derivative.

Bonus track: L estate - presto (3:14)
Make way Vanessa Mae! A marvellous explosive modern version of this Vivaldi tune from the Four Seasons, and quite rightly advertised as a bonus as it does not fit in with the rest of the album that well. But what fun the band must have had recording it - and what a great live track it would make!

Recording and design

The recording is good, though at times a bit congested, and I would have liked the drums to have been more prominent in the mix. The CD cover is brilliant: the band's logo is excellent and the whole design looks very professional and appealing. The booklet contains all the lyrics in an easily readable format (compliments for that), as well as pictures of the band members and more information.

Overall evaluation

No secrets by Dorian Opera is a strong debut album that should appeal to lovers of progressive rock as well as classical rock alike. Far superior to most new CD's I have heard this year. For this review I have listened at least ten times to it the past week and most of the tracks still sound fresh. On a scale from one to six stars, this is a five star album to my taste.

14/07/2008 - ArtRock on Magle Intl. Music Forum,
Classic Rock Redux Forum,
Art For Art's Sake Blog

Prognaut - die reviews from fan's perspective

The debut from Germany's Dorian Opera, called ‘No Secrets‘, cites influences like Dream Theater, Symphony X, Yes, Rush, ELP, and Marillion. From that roster of bands, you know the band has large shoes to fill, and they great thing is they fill them surprisingly well! Even though they’re entering a genre that’s dominated by replicates of Dream Theater, sometimes cloning, the music of Dorian Opera seems to be on the outer edge of the bunch. The plus side for them are they have a vocalist that isn’t the typical prog-metal over-the-top kind and they are more classical based. This quartet consists of Oliver Weislogel (guitar), Joe Eisenburger (bass, vocals), Andrew Roussak (keyboards, backing vocals) and Harry Reischmann (drums).
You can hear from the opening instrumental "Ouverture", that you’re in for a treat especially with Roussak's synths and Weislogel's guitar interplay. They turn up the voltage on "Sacrifice", and "Tell Me Your Lies". To me this is a great way to start off a album in a take no prisoners attitude. As I mentioned before, the vocals are NOT of the Dream theater variety. Thank goodness for that!
While they do tread lightly in the Dream Theater mold, especially on „No Secrets“ and „Little Lies“, it’s done more in spirit rather than note-for-note technique, at least to my ears. Other than that, the band creates some very good progressive rock mixed with progressive & neo-classical metal on their debut. The only thing I don’t like is the muddy sounding production but that is countered with the plus of great musicianship and song writing. That’s really the only downside to ‘No Secrets’. This is a very solid debut that will satisfy fans of harder-edged progressive rock and the more melodic progressive metal especially the bands mentioned above.

Reviewed by Ron Fuchs on November 19th, 2008

Ytsejam - progressive reviews

Built upon the solid ground by established musicians, who have jazz & classical in their background to flex their might in rock/metal, Dorian Opera find themselves gripping both the melodic and song structuring of progressive metal rather than the whole big massive symphonic tangents that often eat a record alive of any tuneful gusto. Of course you hear all the big technical influences as well as the hard rock/metal influences including Rush, Uriah Heep, Dream Theater, Marillion, and Rainbow – all done with classical synthesis that keeps it to a level of accessibility rather than, say ‘excessability.’

While Dorian Opera works collectively on the music, its keyboardist Andrew Roussak that writes the lyrics, nevertheless the whole group’s compositional input gives No Secrets a band feel; everybody’s influence shows up in the tunes. Cuts such as the opening passage „Ouverture,“ the hard-edge neo-progged title track, the aggressive, jam happy vibe of „She,“ and even the minstrel balladry of „Fly With Me“ lean things into the art-metal/art-rock vein while the other side of the record’s musical mindset portrays a more rock and roll feel with the Sabbathy „Sacrifice,“ the hard driving „One of These Days,“ and the power metal-ish „Dead or Alive;“ yet everything is still done with classy technicalities.

This quartet possesses strength to give their songs room to breathe musically without going overboard – each musician shines on his own laying down leads, hammering down all the low end and rhythmic elements, with Roussak himself switching between various synths and keyboard textures. The vocals could use a little work, sounding a bit spontaneous, live, and in the moment, but it doesn’t take away from the record’s overall vigor. No Secrets is one of the few progressive rock records that can still convey the real spirit of rock and roll – the improvisations are kept to a melodic level of impulsiveness while the hard driving atmosphere keeps it all real.

Added: January 24th 2009

Reviewer: Tommy Hash

MLWZ, Radio Alfa - Poland

Author: Artur Chachlowski

Today I’ve got an album of a new progressive-metal band in my hands. How many times have you read this sentence before? How many new prog-metal groups are born every year? This genre became trendy and popular some time ago, and store shelves have begun to groan under the stuff labeled „file under progressive metal“. A variety of new bands specializing in this genre unfortunately does not come along with quality of music played by them. Is it possible to come up with something new in the already saturated prog-metal genre?

It turns out that it is. Dorian Opera, a German group set up in 2007, has found a niche for itself. Tracks presented on the „No secrets“ CD combine elements of classical music and rock. Let’s add: heavy rock. Imagine, if you will, climates known from such productions as Dream Theater, Symphony X and Rush mixed with classical music of the Baroque, Renaissance or Middle Ages... Hard to imagine? Indeed, but on „No Secrets“ one can clearly hear that these ambitious intentions from the members of Dorian Opera find its reflection in reality. And the reality is that this CD is filled with eleven compositions in the style of technical prog-metal. Most of them are dynamic and played vigorously tunes, which faithful lovers will most definitely like.

The sound of broken glass and powerful, metal riff is at the beginnig of first composition entitled „Ouverture“, which is built around a tuneful motive, played on the guitar by Olivier Weislogel. During this instrumental composition one can hear from their speakers, politicians’ voices (George W. Bush?), and the tempo increases quickly. It increases to the degree where one can think that we almost brush power metal, and it stays this way for most of the material on this CD. But even when Dorian Opera „smashes“ hard, each and every tune has its own thing, which easily falls into your memory. Sometimes it’s a thrilling piano part („Dead or Alive“ or “She“), refrain nice for your ear („Little Lies“ and, probably the best on this CD, „She“), or it’s the entire main theme, appearing for example in the charming recording „Fly With Me“.

Where are those elements corresponding with classical music, you may ask? There are quite a lot of them on „No Secrets“. In one instance, the guitar attempts to imitate a violin (in the main recording), or a classically sounding choirs appear („Litlle Lies“), or the guitar with its nylon strings sounds like master Carulli („Fly With me“), or an interesting orchestration that sends shivers down your spine (again „Fly With Me“), or an arrangement that recalls Baroque ballads (once again „Fly With Me“). Finally, the band reaches for the most classical – Antonio Vivaldi, and interprets „Presto“ from „Four Seasons“ in a rock style.

Quite unusual album it is, as for prog-metal music. Some will probably say it’s not unusual, but rather original. It doesn’t overwhelm us with its powerful sound or seem to be too heavy, nor does it annoy us with unnescessary, technical show offs. And on the other hand, when you listen carefully, you can see at once that Dorian Opera is not made of devil-may-care instrumenalists, but of people who, even though they keep their virtuosic attempts in cheek, can play really well. Joe Eisenburger plays the bass and sings, Olivier Weislogel on guitars, Harry Reischmann on drums, and Andrew Roussak (do you remember his solo album „No Tresspassing“?) on keyboards.

Dorian Opera – modern prog-metal with classical-like flavors. Worth giving it a shot. I recommend it.

Translation from Polish by Mateusz Fedyszyn

MLWZ ( Poland ), Silhobbit ( England )

Autor: Kev Rowland

ImageHere is the debut of yet another Prog Metal band, this time from Germany, with the CD being released on the Russian Mals label, home of the keyboard player Andrew Roussak’s solo album. This is prog metal that really comes alive during the instrumental passages where they often combine differing classical styles with the metal, creating a sound that is truly progtastic. But, I did find that at times the vocals aren’t as strong or as melodic as they might be, while at others they are wonderful (possible quality control issues?). Also, to me the production wasn’t as clear cut as it could have been so that there are times when the music is a little muddy.

So, it is fairly obvious that I don’t like the album then? Um, wrong. This is actually a really good debut. While the guys obviously know how to rock out, Roussak has a fine touch on the piano and it is the judicious use of runs on the piano that perfectly complement what is going on in the maelstrom. This is an album that does grow on the listener and the more one plays it the better it gets! Yes, there is room for improvement in many areas but this album should gain the band a strong following within the genre and I look forward to the next release with some interest.

( You may also read this review on Silhobbit- a prog website, England

DPRP - Dutch Progressive Rock Page

Tracklist: Ouverture (6:40), Sacrifice (5:22), Tell Me Your Lies (6:48), Dead Or Alive (4:30), No Secrets (4:11), Little Lies (5:58), Fly With Me (4:57), One Of These Days (6(18), Truly Yours (5:31), She (6:11) Bonus Track: L’Estate - Presto (3:14)

A lot of bands (at least apparently) don’t worry too much about what their name says about them. My all-time favourite example is the American band that had a huge hit a few years ago but which has (at least so far as I know) pretty much vanished – the horribly named Hoobastank. Call me shallow, but the very name made me certain I wouldn’t like their music. (I didn’t.)
Okay, I’m not that shallow. Some of my favourite bands have lousy or at least sort of dumb names. But I really do appreciate a band that tries to convey something with its name, and I appreciate even more one that manages to suit its name to its music. Dorian Opera has nailed it with that name. As they explain on their site, they want to suggest their classical influences (evidenced as well by the Vivaldi piece they include as the so-called bonus track) with the word „opera“ while acknowledging their rock roots by alluding to the dorian scale. What you think of when you see the band’s name is pretty much what you get, and I respect that.
And Dorian Opera doesn’t disappoint. If you have a taste for classically-influenced progressive metal, you’ll like this album. I’ll say right off the top that the production’s not great, with the rhythm guitar suffering the most from a rather scratchy distorted sound and the drums occasionally sounding „tunky“ (you know the snare sound I mean!), but it’s certainly not awful production. I just find myself wishing that these guys’ excellent musicianship was served a little better on the recording. They really are crackerjack players, all four of them. Oliver Weislogel ’s fluid, melodic guitar solos are a highlight of the album, but there’s lots to admire in Joe Eisenburger’s powerful bass playing, Andrew Roussak ’s tasteful keyboard work (check out the piano solo in Little Lies and the lovely intro to One Of These Days), and Harry Reischmann’s energetic but musical drumming. The best venues for their musicianship are the three instrumentals on the album, on a couple of which (No Secrets and L’Estate) Weislogel makes his guitar sound uncannily like a violin – giving even more appeal to his fine solos.
What about the songs? Okay, I’ll just say it and then drop it: Roussak’s lyrics (he writes them all) are probably better in German. In English, they don’t (for the most part) rhyme, and while the ideas are interesting and more than good enough to carry the songs, they’re a bit rough, idiomatically. A sample from Dead Or Alive:
„No,it wasn’t me
I swear it was not me
I was still on my way as it happened
Just terrible
How stupid it can be
He was my only friend, and I couldn’t stop it!“

Bassist/vocalist Eisenburger makes the lyrics work, for the most part, and the stories they tell are kind of neat, but they’re certainly not the best thing about the album.
No, the best thing is really the playing. The songs themselves are quite well constructed, though a few of them seem to be perhaps too self-consciously „epic,“ with the twists and turns you’d expect from progressive-metal compositions. But you can’t help enjoying the musicianship throughout. As bands will do on their debut albums, Dorian Opera pulls out all the stops here, so we’re treated not only to good progressive metal but also (in that „bonus track“ especially) their take on classical music and even some quasi-medieval acoustic balladry on Fly With Me (on which I’m afraid Eisenburger gets a little histrionic in his singing, to unfortunate effect). As a whole, it’s really an enjoyable collection of songs, showcasing several styles and always very fine playing.
Because of the undeniable problems with production and lyrics, I can’t quite give the album a DPRP Recommended rating, but I do think that fans of progressive metal will find a lot to like here. It’s an auspicious debut from a very talented group, and, the faults I’ve noted aside, it’s a debut to be proud of – and, I hope, one for the band to build on in subsequent albums.
Conclusion: 7 out of 10

October 2008

Sea Of Tranquility - Music For A New Intellectual

Progressive rock and progressive metal collide on the debut from Germany's Dorian Opera, titled No Secrets. Citing influences like Dream Theater, Symphony X, Yes, Rush, ELP, and Marillion, you can probably imagine that you'll be in store for plenty of bombast here. Comprised of Oliver Weislogel (guitar), Joe Eisenburger (bass, vocals), Andrew Roussak (keyboards, backing vocals) and Harry Reischmann (drums), all of whom had played together in various bands around South Germany, Dorian Opera put forth an energetic style centered around wild guitar and keyboard solos, plenty of melody, and tight arrangements.

The opening instrumental "Ouverture" start things off in grand fashion, a symphonic powerhouse of a piece littered with Roussak's melodic synths and Weislogel's stabbing guitar work. The band lurches into progressive metal territory on the intricate "Sacrifice", and gets even heavier on the catchy yet angry "Tell Me Your Lies", a real winner of a track featuring memorable vocal melodies, crushing guitar riffs, and pulsating keyboard lines. With lyrics packed with venom, this is one of the CD's highlights. Raging organ and crunchy guitar kick off "Dead Or Alive", a song about a man framed for the murder of his friend, and the band returns to symphonic instrumental prog on the excellent title track. This one shows the true dexterity of guitarist Weislogel, as he rips into one legato line after another. "Little Lies" will remind of Dream Theater, right down to Roussak's synth tones, a heavy tune with plenty of orchestral elements and just the right amount of atmosphere. Gorgeous prog can be heard on the pastoral "Fly With Me", featuring lovely vocal melodies, acoustic guitars, and a variety of medieval tones from Roussak, giving this one a sort of Blackmore's Night meets The Strawbs feel. "One Of These Days" has more of a power metal/hard rock flavor, complete with some virtuoso guitar & keyboard solos, and "Truly Yours" is a slower, grinding metal number, Reischmann's plodding drum work rocking the house underneath the immense power chords from Weislogel. Again, the influence of Dream Theater is all over "She", another highlight here, featuring plenty of tasty guitar and keyboard solos, and the album ends with the ripping instrumental "L'Estate - Presto", much like it began.

There's a lot to like here on No Secrets, so much so that you can overlook the somewhat lackluster production, which is on the muddy side. The band can obviously play the hell out of their instruments, and they are quite adept at writing powerful progressive rock songs. While bassist Eisenburger is an adequate singer, I'm wondering if Dorian Opera might be better suited with a full-time vocalist with better all-around range. It's not that Joe can't handle this material, but someone more capable of hitting the highs and lows might be a better fit behind the microphone. Regardless of these two minor quibbles, Dorian Opera have themselves a very solid and enjoyable prog rock/metal debut here, and I think we are in store for some truly great things from this outfit in the years to come.

Added: August 11th 2008
Reviewer: Pete Pardo

Metal Nose , Holland

Dorian Opera, a German band, chose their name to pinpoint their influences of classical and rock music, as a Dorian scale is a scale mostly used in rock music.
Although the first track is called „Ouverture“, there is no common concept. Nevertheless, this overture is a great, theatrical, symphonic, progmetal opener, which puts them on the progmetal chart right away. Unbelievably skilled musicians are playing mind blowing solos on keyboard and guitar, put together with complex but well fitting rhythms on bass and drums.
This opening track is instrumental, so the next barrier to cross is the vocals, starting from track 2 and that’s a bit of a problem. The vocals on this second track „Sacrifice“ are not of the highest quality these guys and their music deserve. Joe Eisenburger has his moments. In fact, it’s only on „Sacrifice“ and „Truly Yours“ he’s really not fitted for this band. On other tracks, especially the quieter moments, he sounds a lot better. He will never be a top vocalist, but his voice has something recognizable and falls out of the usual progmetal cliché.
And he certainly didn’t get any help from the production, which could have been a lot better. Luckily their songs and music are strong enough to survive this.
„No Secrets“ is a great debut by this German band, but with some work on the vocals and a better production, they would have been a step higher on the ladder, already.
I hope they will, so we’ll get a new progmetal band to cherish. To be continued for sure.

Geplaatst door danny op zondag 21 juni 2009

Review by: Danny
Translated by: Danny
Rating: 8/10

BARRIKADA - World Of Music

A German act Dorian Opera was formed in May, 2007 year. A band are comprised of well-experienced musicians, also professionals who performed together in many previous groups/occasionals. They work as a quartet, and main intention of its offering views is some sort of equalizations of classical and rock messages. A group has in its line-up skillful performers and two composers - guitarist Oliver Weislogel and keyborder Andrew Roussak. They offered in actuelle debut "No Secrets" a portion of progressive/progressive rock visions, fullfield with prog. metal elements.
We can find in its approach influences comes out from 90's period, and from British acts legacies too, but clever performings, and also wise arrangments creations, shows that Dorian Opera posses many other own qualities.
A production is also modern, and in some places each of offering songs has many exceptional moments, also comparabile with some classical or 70's progressive un(known) themes. Dorian Opera is a certain act, with strong attitudes and statements.

Rating: 8,5/10

Branimir Lockner, 2/01/2009

Music Street Journal - music news & reviews

Dorian Opera

No Secrets

Review by
Tim Jones
Music Street Journal, December 2008 - issue 73

Dorian Opera is a German progressive metal band with some impressive keyboard and guitar talent. No Secrets is their first album. They formed in 2007 in Karlsruhe, Germany.
Andrew Roussak, on keyboards, heads the band. His main influences are classical and progressive rock--primarily Emerson and Wakeman. In 2006, he won awards for both the best keyboard player and the best instrumental soloist in The German Pop and Rock Awards. All the lyrics on this album are his.

Roussak is joined by Joe Eisenburger on bass and vocals, Oliver Weislogel on guitars, and Harry Reischmann on drums. All of the instruments are fantastically played. Weislogel does most of the composing, although Roussak sometimes helps him out. Unsurprisingly, with the guitarist writing most of the music, the electric guitar is the dominating instrument. The only weakness is the vocals--Eisenburger does fine on the soft songs, but on the heavy songs it sounds like the band ran out of time in the studio and Eisenburger only had one chance to run through them. Despite this, Dorian Opera has some great stuff here, and this really is a good album.

Track by Track Review

This instrumental is a fitting start to the album. It includes confident drums, a fast electric guitar, and an interlude with spoken voices and melodic "ah"ing. Progressive rock and classical influences are evident. Much of the song is a repeated theme, slowly modified each time it's played. It's a very nice number

"Sacrifice" starts heavy. This track is a little dark. Parts of it are mellow and melodic, most of it is hard and not melodic. This is the first time Eisenburger's voice is really heard. Here, he's half singing, half talking. His voice adds an interesting flavor to the music.There is more metal here and less progressive rock.

Tell Me Your Lies
Mean guitars and bass are joined by some incredible keyboards. The vocals are stronger here than they were on the last song, although they're a bit muted. The chorus carries definite hints of Queen. A chaotic bridge spices things up. There's lots of room for instrumentals, and the powerful keyboards contrast well with the heavy bass.

Dead Or Alive
Strings serve as the bookends for this song. They are very pretty and very moving, but they don't last long. The song gets heavy quick, and stays heavy. The vocals feel restrained. The drums beat a deliberate rhythm. A fantastic bridge features some mad guitar skills--Weislogel is all over the place.

No Secrets
The title track is a technical, fast-moving instrumental. The guitars lead. The multi-layered approach here offers a lot to wrap your head around. It's a great song.

Little Lies
Eisenburger's bass dominates here. The vocal line is simple and melodic. Background vocals play a big part here--sometimes singing along with the main vocals, and sometimes evolving into a Queen-like vocal interplay. Keys come in at times to break up the otherwise dark mood.

Fly with me
A slow, soft acoustic guitar is soon joined by other strings. This is not a metal song. Eisenburger does much better here with the vocals; the non-heavy style seems a better fit for him. This love song reminds me of some of the slower Queen songs. It's very nicely done.

One of these days
The keyboard introduction is reminiscent of Eternity X. The song turns heavy, and then softens again for the vocals. The music quickly turns heavy again. The lyrics are an attack on violent video games. Weislogel's fast-moving guitar dominates the bridge.

Truly yours
This track starts heavy with bass and drums, and is joined by a hesitant electric guitar. They tone things down to let in the vocals, and then come back as equal partners. Bass and drums dominate here, and when the electric guitar is let in it feels like a bright ray of sunshine. A long instrumental section is the highlight of the song.

A guitar starts things out, and is soon joined by a fast bass and fast drums. Things are toned down to let the vocals in. Heavy choruses are broken up by light verses. The vocals are pleasant during the light sections, but struggle during the chorus.

Bonus Track - L'Estate - Presto
Here we are presented with a Vivaldi instrumental. This is in the tradition of Savatage/Trans-Siberian Orchestra, and before that, ELP--taking classical songs and transforming them into rock. The band does a fantastic job with this piece. The guitar is especially fantastic. This last track showcases the talent of these musicians; it's a chance for them to show off their raw skill. It's one of the best songs on the album and very cool.

Metal Heart Webzine - France

Dorian Opera is a German progressive metal group which has released its first album „No Secrets“. The Dorian Opera’s progressive metal takes its influences in groups such as Yes, Rush, Marillion, symphony X an others but also in classic and baroque music. The album contains 11 tracks including a bonus « L’Estate Presto » from Vivaldi, two of the 10 other tracks are only instrumental. The lyrics of the texts deal with themes such as politics, dependence to computer games, frustration, hope, loneliness and eternal love…
Joe Eisenburger’s vocals are well at place, melodic, maybe sometimes put a little too much in front, bringing sometimes particular ambiences to the tracks by his manner of singing especially on « Dead or Alive » and relatively well varied vocals. The tracks are much worked musically speaking. The compositions have worked intros with very often present keyboards wich give superb melodies and the ambiences to the tracks, intros which are sometimes nearly symphonic or with a piano spinning around like in « Tell Me Your Lies », but the guitar is not at rest with its heavy, powerful and melodic riffs or just in delicacy ones like in the intro of « Fly With Me », superb ballad with medieval influences. Moreover Oliver Weilogel’s soli are successful and well put like especially in « No Secrets ». The rhythmic section is efficient with a well present bass. The compositions have worked structures, progressive and complex but in no way inaccessible, the musicality and the melody are very important in the tracks. All being professional musicians who control their instruments and who possess a certain technique, it is never put too much in front to the detriment of melody. We also have choirs in the refrains of the songs. The tracks have very often different changing in rhythmic which are well put. I do however think that the add of a second guitar would bring a real plus to the tracks, giving more power to them and create harmonic guitars playings. Just a word about the bonus « L’Estate –Presto » from Vivaldi…. I couldn’t do differently !!! Patrick Rondat’s fans should appreciate this track that they know so much… even if they won’t find there the liveliness neither Patrick’s power in this track, it does still is a rather successful interpretation.
This first Dorian Opera’s album shows us all the capacities and the creative potential of the group on the musical level with much worked compositions that I have particularly liked the musical quality.
A group to follow in the future.

Reviewed by Bea on 2.09.2008

Music In Belgium

Dorian Opera was formed in May, 2007 by Oliver Weislogel (guitar), Joe Eisenburger (bass and lead vocals), Andrew Roussak (keyboards and backing vocals ) and Harry Reischmann ( drums ). All these musicians had already played before together in various groups in Baden-Wuerttemberg in the south of Germany, and this experience is indeed faultlessly felt in their performance . The name of the group Dorian Opera was chosen to underline a link between classical music and rock. All these musicians, who have the solid musical training, are virtuosos and capable of playing in all styles, which are jazz, rock or classical music. With the debut album " No Secrets " , Dorian Opera offers a progressive metal/ progressive rock influenced by the European classical music. 11 compositions delivered by these confirmed musicians are varied in style and well recorded. Eight of the ten pieces were composed by the guitarist Oliver Weislogel, among which two in a collaboration with the Russian keyboardist Andrew Roussak, the latter had written two remaining pieces alone. Roussak is also the author of all lyrics. The texts of Roussak speak about the various subjects diversing from polical issues to dangerous video games as well as of loneliness, frustration and love, and of some other topics . "No Secrets" has therefore no homohenous conceptual structure . There are also three instrumental pieces in this album, the last one ( a bonus track ) is a rendition of a classical piece, " L'Estate Presto ", taken from the «Four Seasons» of Antonio Lucio Vivaldi. From an overall point of view, it is the guitarist Oliver Weislogel who mostly marks the album with his footprint , dominating the sound with his hard metal style . Andrew Roussak, very much influenced by Keith Emerson and Rick Wakeman, adds a classical note to this collaboration ( his basical training ). Many pieces show a straight forward metal ("Ouverture", "Sacrifice", "Dead Or Alive"). « Little Lies» is a bit lighter, while a melodic and calm piece "Fly With Me" has pretty much of folk music, and is still very classically inspired. The piece «Tell Me Your Lies» benefits from an intro groove and baths again in the waters of classical metal, co-written by the guitarist and the keyboardist. « Truly Yours » develops a more progressive ambience with the wakeman-emersonesque keyboards, while «Little Lies » benefits from the choruses as taken from the very early seventies – Moody Blues are here indoors. Song is in one or two places a bit weak but spoils in no way the pleasure of listening to «No Secrets ». In summary, a very good progressive metal debut album of this German group. One more note: a very nice photo on the cover of the booklet, which represents a fragment of an original work (oil painting) of Lu Schaper, a painter and photographer from Shangaï.

Eric Piettre, 11.07.2008

Home Of Rock - das Rockmagazin
Rock Times - Webzine für Rockmusik
Musikzirkus - Magazin
RAGAZZI - Website für erregende Musik

Home Of Rock - das Rockmagazin

"Metal meets Classic". Nun, das ist ja eigentlich nichts neues, denn es gibt da einige Combos, die Metal mit Klassikadaptionen vermischen. Spontan fallen mir da TRANS-SIBERIAN ORCHESTRA ein. Aber auch SAVATAGE mit ihrem Album "Dead Winter Dead" und SYMPHONY X mit "V (The New Mythology Suite)".
Alles wirklich famose Werke, jedoch geht es nicht um diese Künstler mit ihren Outputs. Vielmehr geht es um DORIAN OPERA, eine Band, die sich 2007 zusammengefunden hat und in ihrer Musik progressiven Metal mit Klassik-Einflüssen vermischt. Schon mit der Auswahl des Namens scheint die Band ein Zeichen setzen zu wollen, so kann man sicherlich bei Dorian eine Verbindung zur dorischen Tonleiter sehen (s. a. Wikipedia), die auch in der Rockmusik Verwendung findet. Mit Opera hat man eine weitere Verbindung zur Klassik hergestellt.
Dorian Opera Alle vier Mitglieder dieser Formation sind professionelle Musiker. Andrew Roussak studierte in Russland und gibt nun hier in Deutschland Klavierunterricht. Joe Eisenburger, der Bassist und Vokalist, hat ein abgeschlossenes Studium am Kontrabass. Oliver Weislogel betätigt sich als Gitarrenlehrer und hat ebenfalls ein Diplom vorzuweisen. Letzter im Bunde ist Harry Reischmann, der sich durch seine Liebe zu den Drums auch beruflich damit beschäftigt, privaten Unterricht erteilt, Workshops sowie Solo- & Feuershows anbietet.

Das Debüt "No Secrets" von DORIAN OPERA, seit 2008 erhältlich, ist über das russische Label Mals erschienen. Wie dem Booklet zu entnehmen ist, zeichnet Andrew Roussak für die Texte verantwortlich, für die Musik ist es mal Oliver Weislogel, mal Andrew Roussak und in einigen Fällen haben beide die Musik komponiert. Wie in der klassischen Musik üblich, wird mit dem instrumentalen Ouverture das musikalische Erlebnis eröffnet, aber keine Angst, denn hier geht es schon mächtig zur Sache. Das Schlagzeug und der Bass bauen mächtigen Druck auf und die Tasten duellieren sich vorzüglich mit der Gitarre. Im Mittelteil sind gesprochene Wortfetzen eingebaut worden.
Das ist schon mal ein grandioser Anfang und macht kolossal Spaß. Den ersten kleinen Dämpfer gibt es im zweiten Track, Sacrifice, denn so grandios die Instrumentallisten auch sind, bildet der Gesang des Bassisten Joe Eisenburger die Schwachstelle und dämpft das Hörvergnügen ein wenig. Ansonsten dringt der Song sehr druckvoll und heavy aus den Boxen.
Famose Tastenintervalle und Chorarrangements dringen bei Tell Me Your Lies ins Ohr. Das Titelstück No Secrets ist das zweite instrumentale Werk und ich ertappe mich dabei, wie ich jeden einzelnen Ton der Gitarre in mich aufsauge. Ich habe ja schon einige Prog-Metal-Combos gehört, jedoch war ich selten so vom Gitarrenspiel begeistert, da kann sich mancher noch eine Scheibe abschneiden. So ist es nicht verwunderlich, dass ich von dem eher balladesken Fly With Me ebenso fasziniert bin, in der die E-Gitarre gegen eine Akustische eingetauscht wurde und mit ihren grandiosen, warmen Tönen verzaubert. Ganz stark ist in diesem Stück die Liebe zur klassischen Musik zu hören. Die Tasten simulieren schöne Streichereffekte.
Mit dem Bonus Track L'Estate - Presto bietet man eine rockige Variante von Vivaldis "Vier Jahreszeiten". Als Rausschmeißer superb gewählt.

Wie viele Bands im Prog-Metal Genre haben sich auch DORIAN OPERA von DREAM THEATER und SYMPHONY X sowie in den Chorpassagen von QUEEN beeinflussen lassen und spezifisch bei den Tasten wären noch YES und ELP zu erwähnen.
DORIAN OPERA haben mit "No Secrets" ein beachtliches Debüt serviert, und arbeitet man noch an der Schwachstelle Gesang, dann können sie sich zu einer festen Größe der Prog-Metal Szene entwickeln.

Michelle Karayilan, 18.02.2009

Rock Times - Webzine für Rockmusik

Spielzeit: 60:37
Medium: CD
Label: Mals Records, 2008
Stil: Prog Metal

Review vom 07.01.2009

Boris Theobald

Brauchen wir eigentlich noch weitere Beweise dafür, dass Rockmusik und Klassik bestens miteinander können? Nun ja - wenn nicht geistlos mit Klassik-Plagiaten herumgeflickschustert und auf Teufel-komm-raus mit Bläsern und Streichern fehlende Kreativität übertüncht wird... dann nehmen wir gerne mehr davon - wie zum Beispiel das Debütwerk von Dorian Opera! Schon der Name der 2007 in Karlsruhe zusammengeschweißten Prog-Metaller soll laut Band ein Zeichen setzen. Denn in der dorischen Tonleiter ist ein Großteil der Rockmusik zu Hause; und 'Oper', na ja - kennt man, muss man aber nicht lieben, um Dorian Opera gut zu finden. Also nicht besorgt sein, es gibt keinen Gastauftritt von Paul Potts!

Die Oper steht hier eher symbolisch für große musikalische Epochen, die wir heute so oft kurzerhand unter 'Klassischer Musik' subsumieren und die freilich alles andere als altmodisch sind. So hat Keyboarder Andrew Roussak gar eine klassische Klavierausbildung strenger russischer Schule durchgestanden (siehe auch Review zu Andrew Roussak - No Trespassing), und Sänger und Bassist Joe Eisenburger hat, ganz ohne elektrische Verstärkung, ein 'klassisches' (ach schon wieder, verflixt!) Kontrabass-Studium im Sack. Alle Metal-Bassisten, die das auch vorzuweisen haben, jetzt bitte Finger hoch... siehste! Die Jungs wissen also, von was sie da 'klassischerweise' reden. Und doch klingt das alles viel, viel hochtrabender als das hörbare Ergebnis. Das ist nämlich zunächst einmal vor allem eines: Progressive Metal!

Das Album beginnt Opern-gerecht mit einer "Ouverture", und die steckt voller Prog Metal, wie er 'klassischer' nicht sein könnte: Langer Aufbau, energieintensive Akkorde, vieldimensionale Rhythmusarbeit. Jam-artig wird um ein wiederkehrendes Thema herumgespielt; und so macht man sich schnell Freunde im Kreise verwöhnter Prog-Hörer, die es schwermetallisch mögen, aber doch so manchen deutlichen Einfluss des Symphonic Rocks der alten Schule nicht verächten. Insbesondere Keyboarder Andrew Roussak sorgt mit seinem beachtlichen Klang-Repertoire dafür, dass man innerhalb weniger Takte aus jeder Schublade wieder rauskommt, von mysteriösen Soundscapes über hardrockige Orgeln bis hin zu allen möglichen spacigen Frickelsounds aus mehreren Jahrzehnten rockiger Keyboardkunst.

Nach ersten recht komplexen Fingerübungen der gehobenen Klasse folgen eher straight ausgerichtete Stücke mit Gesang. Nummern wie "Sacrifice", "Dead Or Alive" oder "One Of These Days" kommen teils mit ordentlich Karacho aus den Boxen. So mancher Refrain wird einer recht rohen Doublebass-Intensivkur unterzogen. Dazu gehören an anderer Stelle manche süßlich-zarte Momente der Ruhe, doch insgesamt wird schon sehr hart gerockt - zuweilen etwas zu kantig - wenngleich doch mit Bedacht auf gute Melodien.

Das Energielevel weit oben halten auch etliche mit Präzision und Emotion ausgeführte Frickel-Soli - manchmal nimmt das Keyboard auch noch die Verfolgung auf - die nahtlos in vielschichtige Prog-Exerzizien übergehen, so dass man zuweilen meinen könnte, die Dream Theater-Instrumentalfraktion jamme sich ein paar Songideen herbei. Wunderbar 'verproggt', rhapsodisch angehaucht und voller sprunghafter Sperenzchen kommt beispielsweise ein fast dreiminütiger Instrumentalteil in "Tell Me Your Lies" daher - würde sich teilweise in einen Nachfolger von "Erotomania" einpassen. Nicht zu verachten ist auch der Titeltrack "No Secrets" - ein weiteres sehr lebendiges Instrumentalstück, das mich ein wenig an Sun Caged erinnert, mit einprägsamen, doch keineswegs einfältigen Hooklines.

Wenn ich da bei den Nicht-Instrumentalstücken nur weniger Probleme mit dem Gesang von Bassist Joe Eisenburger hätte... bei all den starken Referenzen im Prog-Genre klingen mir die Vocals zu grobschlächtig, haben zu wenig Feinheit und Vielfalt. Das gilt jedoch nicht für den mehrstimmigen Satzgesang von Dorian Opera. Der putzt so manchen Refrain heraus, ganz vorneweg das edel anmutende "Little Lies", das komplett im Chor gesungen wird und dadurch eine ganz spezielle Note erhält, einen Hauch von Symphony X, dank epischer Schlenker und in ihrer Einfachheit wunderbar funktionierenden Heavy Metal-Riffs auch einen Touch von Savatage.

Mein persönlicher Glanzpunkt des Albums ist "Truly Yours", das schon äußerst fesselnd von einem geheimnisvoll klingenden Mix aus dramatischer Lead-Gitarre und knisternd spannenden Synthesizer-Klängen sowie halsbrecherischen Läufen eröffnet wird. Was die Jungs dann aber ab dem ersten Chorus produzieren, ist schlichtweg genial: Da wird innerhalb von halben Takten derart krass das Tempo geändert, dass man den akustischen Erstkontakt im Sitzen vollziehen sollte - Schwindelgefahr!
Nur, wo bleibt jetzt die große Klassik-Schau? Nun, dazu braucht es nicht immer die berühmte Holzhammer-Methode, bei der am laufenden Band die gängigsten Supermarktberieselungs-Mainstream-Mozartmusikfetzen zitiert werden. Auch ohne zu klauen lehnt sich Andrew Roussak beim Griff ins Elfenbein wie bei den verspielten Keyboard-Passagen von "Tell Me Your Lies" stilistisch wiederholt an große Meister vergangener Jahrhunderte an. Beim äußerst melodischen "She" stechen dann auch glasklare Barock-Akkordabfolgen hervor - und, ob sie es so beabsichtigt haben, oder nicht, das dortige Gitarrensolo erinnert mich doch verstärkt an die Melodieführung einer klassischen Geige - ein Hauch von Paganini?!

Alles andere als eine 'normale' Ballade ist das akustische "Fly With Me" mit klassischer Gitarrenspielweise und unterlegten Flöten- und Cembaloklängen. Das ist schon wieder ein bisschen dick aufgetragen und macht das Stück eher zu einem verstaubt wirkenden Fremdkörper. Da ist mir doch der 'Rausschmeißer' viel lieber, nämlich die moderne Adaption des Presto-Satzes aus dem Sommer von Vivaldis "Vier Jahreszeiten" in einer Heavy-Version - mitreißend!

Ihr erster Akt macht die dorische Oper wohl noch zu keinem 'Klassiker", dazu hat "No Secrets" noch zu viele Ecken und Kanten. Dank so mancher genialer Einfälle und einem für progressive Feinkost so wichtigen hohen musikalischen IQ hinterlassen Dorian Opera aber schon mit ihrem Debüt einen bleibenden Eindruck. Künftige Meisterwerke nicht ausgeschlossen!

Musikzirkus - Magazin

Die deutsche Rockformation Dorian Opera verspricht auf ihrem Debüt keine Geheimnisse vor dem Ohr des Hörers zu verstecken. Gegründet wurde das Quartett, bestehend aus Oliver Weisvogel (Gitarre), Joe Eisenburger (Bass, Gesang), Andrew Roussak (Keyboards, Gesang) und Harry Reischmann (Schlagzeug) im Mai 2007. Ganz neu sind diese vier allerdings nicht, haben sie doch bereits vorher in einigen Bands zusammen gespielt. Der Bandname Dorian Opera soll die Verbindung zwischen klassischer Musik und Rockmusik unterstreichen.

Im Juni 2008 erschien das Debütalbum des Rockquartetts beim russischen Progrock-Label MALS Records. Auf dem Album bieten uns die vier elf Stücke mit Laufzeiten von 3:15 bis 6:54 Minuten Spielzeit. Der Stil von Dorian Opera bewegt sich in der Schnittmenge aus Prog-Metal und klassischem bzw. melodischem Rock.

Eröffnet wird die CD mit der instrumentalen „Ouverture„, die schon zeigt, in welche Richtung Dorian Opera auf ihrem Debüt gehen. Zunächst hören wir atmosphärisches Rauschen, so als würde ein Sender eingestellt, dann schält sich nach einem Glassplittern aus dem Hintergrund eine Synthielinie mit einer treibenden Drum heraus, die in einen rockigen Gitarrenriff übergeht und sehr proggige bis Melodic-Rock artige Passagen aufweist. Hier werden schon so einige Melodiethemen aufgenommen und auch frickelige Parts finden sich in diesen ersten 6 ½ Minuten. Auch die Keyboards gefallen mir in diesem ersten Stück sehr gut. Neben dem Titelstück ist dieses der erste von drei Instrumentals auf dem Album.

Mit „Sacrifice„ folgt dann der erste Rocksong. Hammondorgel artige Sounds starten diesen Song. Stakkatomäßig treibt das Schlagzeug diesen Titel voran. Den guten Gesamteindruck trübt an einigen Stellen allerdings der Gesang, der etwas angestrengt rüberkommt. Es macht auf mich den Eindruck, als würde die Stimme des Sängers einige Male an ihre Grenzen stoßen.

„Tell Me Your Lies„ ist ein echter Headbanger. Hier treffen klassische Elemente (vor allem die Keys) und herrliche Melodieparts auf harte Riffs. In diesem Stück kommt der Gesang dann auch besser rüber, auch wenn er für meinen Geschmack etwas von den Instrumenten übertüncht wird. Die Gitarren- und Keyboardsoli sind aber sehr schön ausgearbeitet. Mit Geigen beginnt „Dead Or Alive„ sehr klassisch, wird aber durch den Kontrast der harten Riffs und des temporeichen Schlagzeugs nach wenigen Momenten verändert. So heftig bleibt es aber nicht, denn sobald der Gesang einsetzt, wird es sehr melodisch. Auch hier stößt der Sänger wieder an seine Grenzen.

Mit dem Titelstück folgt das zweite Instrumental. Und hier wird deutlich, dass die Band eindeutig ihre Stärken in der instrumentierten Umsetzung ihrer Stücke hat. Der Track wirkt sehr kompakt, durchstrukturiert und geht drüber hinaus auch gut ins Ohr. Hier stimmen die einzelnen Komponenten. Mit „Fly With Me„ gibt es dann auch noch eine schöne Ballade im klassischen Stil mit Akustikgitarre, Geigensounds und Satzgesang.

Auf die restlichen Stücke trifft das gleiche wie zuvor angesprochen zu. Musikalisch alle gut strukturiert und mit mitreißenden Soli bestückt. Nur der Gesang ist an einigen Stellen recht dünn. Neben zehn Eigenkompositionen findet sich noch der Bonustrack „L’Estate – Presto„, ein Teil aus Vivaldis „Vier Jahreszeiten„, in einer rockigen Interpretation zum Abschluss auf dem Album. Hiermit beweisen die Jungs, dass Klassik und Rock gut miteinander funktionieren.

„No Secret„ ist vom musikalischen Gesichtspunkt ein ordentliches Debüt geworden. Dabei verbinden die vier Musiker in sehr gelungener Form Prog-Metal mit klassischem bzw. melodischem Rock. Allerdings würden die Stücke noch besser rüberkommen, hätte die Band einen richtig guten Sänger an Bord. Eine Hörprobe gibt es auf der Bandeigenen Seite www. myspace. com/dorianopera.

Stephan Schelle, August 2008

RAGAZZI - die Website für Erregende Musik

Die süddeutschen Prog Metaller Dorian Opera spielen relativ eingängigen Symphonic Metal mit starkem klassischen Einschlag. Seit 2007 aktiv, legen Oliver Weislogel (g), Joe Eisenburger (b, voc), Andrew Roussak (key, back-voc) und Harry Reischmann (dr) mit "No Secrets" nun ihr CD-Debüt vor. Gitarrist Weislogel und Keyboarder Roussak sind die Komponisten, letzterer legt zur gleichen Zeit sein Soloalbum "No Trespassing" ebenfalls beim russischen Prog Label MALS auf und schrieb alle Texte für die 10 bandeigenen Songs auf "No Secrets". Die Songs sind raffiniert und eingängig komponiert, haben Groove und Härte, intelligente Gesangslinien und interessante Chorgesänge in den Refrains. Symphonische Keyboardsounds und Synthesizerklänge machen die recht komplexe Struktur für Symphonic Rock Fans attraktiv. Andrew Roussak ist ein Meister an den Tasten, ein fingerfertiger und phantasievoller, der dynamische und epische Partien geschickt und ausdrucksstark zu spielen weiß. Sein Part ist der melodische Mittelpunkt aller Songs, während Gitarrist Weislogel für vitale, harte Soli sorgt. Die Ryhthmuscrew Eisenburger und Reischmann spielt druckvoll und differenziert, legt einen starken, kernigen Beat vor und gibt unzählige Breaks und Rhythmuswechsel in die aufwendigen Kompositionen. Einige wenige balladeske Songs, ohne Schmalz und Kitsch, stecken zwischen den harten Rockern, die schweren Keyboardbombast und rifflastiges Gitarrengewitter auflegen. Die Riffs sind etwas zu fett und rau, das nimmt den Songs Atem und Raum und macht den Klang etwas eng. Wären die Gitarrensounds weniger verzerrt, würden die Arrangements mehr Weite und Klang haben.
Aber nichts ist schlecht an den Aufnahmen. Yes und Queen nennt die Band als ihre Einflüsse, ebenso Dream Theater, die beiden letztgenannten Bands haben ihre Spuren hinterlassen. An Yes reichen Dorian Opera, wer kann das schon, qualitativ nicht heran. Trotzdem ist, was auf "No Secrets" zu hören ist, spannend und interessant und sollte nicht zum Szenegeheimnis werden

Volkmer Mantei, - 23.07.2008