DGM – Tragic Separation – Album Review

Artist: DGM

Album Title: Tragic Separation

Label: Frontiers Records

Date of Release: 9 October 2020

We can’t all like every band, can we? And that’s why I feel comfortable when I admit to never really ‘getting’ DGM. I always checked out their material, but have never fallen head over heels for their brand of melodic metal with progressive tendencies. And yet, here we are with another album and here I am checking it out in the hope that I like it. I want to like every band and every album (even Metallica’s ‘St Anger’, or any of Korn or Tool’s output) but it isn’t physically possible. Even the Man Of Much Metal has had to admit defeat in this regard, however hard it may be to do so. But…but…as I listen to ‘Tragic Separation’, is it possible that I am changing my mind about DGM?

No. It isn’t. I’m not changing my mind, I’m having it removed and replaced with a brand new mind that absolutely loves DGM. This album is insane. Combining the very best elements from melodic metal, hard rock, AOR, and progressive metal, the Italians have finally hit me squarely in the sweet spot. It’s a heady, breathless ride, one that I am loving more than I ever thought possible if I’m honest.

Right out of the gate, the quintet wastes no time in grabbing my undivided attention, with the monstrous anthem ‘Flesh And Blood’. After a short intro, it bursts out of the speakers with an urgent, churning riff and strong rhythms before opening up into a gargantuan, epic melody that stops me in my tracks each time I hear it. But it’s only a taster of what’s to come because quickly, the song reverts to a vibrant and energetic classic style progressive riff, reminiscent of recent Symphony X to my ears. Marco Basile has a soulful and commanding voice, injecting drama and sincerity into the song. The chorus is something that any hard rock band would be proud of, hook laden and incredibly memorable. With forays into technical instrumental realms, as well as some killer solos, both guitar and synth, this is the kind of melodic prog that plants a giant goofy grin on my face. What a song to open up with.

Given the quality of the opener, you’d be nervous that perhaps the remainder of the album wouldn’t live up to the promise. And whilst a couple of the ten songs may not reach the same heady heights, the quality is remarkably consistent as far as I am concerned.

‘Surrender’ starts with a cheeky guitar/bass combo and injects all the swagger that you could possibly want. Gentle synths inject some atmosphere, but the winner here is the utterly fantastic AOR-heavy chorus. It’s so damn effortless and the chorus feels like it floats on air. The progressive nature of DGM is dialled down on this track in favour of all-out melody, but there’s enough technicality on offer to ensure that the song remains interesting throughout.

I feel that I might become a broken record within this review, as we’re only three songs in and I’ve referred to killer melodies and choruses three times as well. But ‘Fate’ delivers on this front too, whilst dialling up the progressive tendencies once again. The chorus might be moodier and more nuanced, but it is every bit as essential as the two before it. I also love the drumming from Fabio Constantino on this track, as well as the extended lead guitar work from Simone Mularoni.

You don’t need me to tell you that ‘Hope’ is awash with more gorgeous melodies, but Emanuele Casali’s keys come to the fore with a lightning fast and expansive solo that eventually duets with the guitar as if the two musicians share the same mind. The title track follows the lead of the opener in terms of it’s epic nature and overt flamboyance, not to mention more progressive leanings to underline that DGM are rightly referred to as a prog band. The chorus is a slow burner but hits hard once the penny drops.

Elsewhere, ‘Land Of Sorrow’ is a moodier track with some chunky riffs but also sections of quieter introspection that allow the chorus to make a greater impact, whilst I like the bombast and speed of ‘Turn Back Time’, along with the stomping riffs that appear too.

It’s towards the back end of the album where the quality tails off just a touch if I’m brutally honest, but even then, the music remains of a high standard, just perhaps not to the level that the first half reaches. However, overall, I’m incredibly impressed with this record. It seems impossible that this is the tenth album of DGM’s career and I’m only now fully realising their abilities and embracing their output. There’s being late to the party, and then there’s being really late to the party. On the strength of ‘Tragic Separation’ though, I think I need to go back and listen to some of their earlier material with a fresh perspective. If you’re already a fan of the Italians, or progressive metal with a strong melodic vein to it, you cannot go wrong with ‘Tragic Separation’, trust me.

The Score of Much Metal: 91%