Saturday, November 30, 2013

Verminous - "The Curse of the Antichrist" (2013)

EP (Blood Harvest Productions, June 21st 2013)

Line – up: Germaniac – vocals/guitar;
                  Pelle Piss – guitar;
                  Jonas Mattson – bass (lead guitar on “Revel in Flesh”);
                  Agge – drums.

Location:  Ahus (Sweden)

Sssh, don’t make noise, and honor the “new old” bands of the Swedish death metal. In fact, today it’s the Verminous turn, one of the first band to very anticipating this recent mass return to the dear old – school, being born even in 2002 from the ashes of Delve and with an album released one year after. Everything seemed to go in a very good way for the Verminous that, along with bands like Repugnant and Kaamos, were the only flags of the putrid and true death metal into a period where that bullsh… hem, the melodic death was very popular… but in 2004 the singer/guitarist Germaniac started to has some hearing problems. So, the band was in hold even for 6 long years, waiting the slow recovery of Germaniac. Finally, this year there has been the revenge of Verminous, not only releasing their own second album but also, few months ago, this EP titled “The Curse of the Antichrist”, full of 8 minutes circa for 3 tracks (2 of them are covers, that are “Hang the Pope” of Nuclear Assault and “Revel in Flesh” of the seminal Nihilist.

Okay, maybe this stuff is really modest, I would prefer 2 original tracks of 3. But the titletrack is a real spectacle of 4 minutes full of delirium, so it’s sufficient to introduce the future things to come. It shows a death metal so intense to be very hysterical, also thanks to sudden tempo shifts alternated between devastating blast – beats and tupa – tupas. At a certain point, there is a slowdown full of groove to moving incredibly your ass. The song works brilliantly without a solo, melodies or technical bullshits, increasing the intensity also through screaming growls that are truly wild (but not too much as in the Chilean Horrifying, of course!). But above all there is a frightful introduction with a climax consisting of 3 guitars, two of them engulfs the listener in a vortex of horror and fear. Then, there are beautiful death bells in the finale, making the concept in the clearest way.

All right, the rest is all composed by covers, as I wrote before. Of all them, I appreciated above all “Hang the Pope”, that has now a darker atmosphere in a death metal way, very good job! The other one, “Revel in Flesh”, is simply close to the original, and I notice that everyone is covering the Nihilist. This fact is not bad, but I don’t believe that really personalizing the covers can be a shame to the Masters, don’t you think?

In conclusion, what more can I say? This is: I’m sorry that my score to this EP is so short but sincerely an only original track is too little, also if it is very destructive. If you want to listen to something moooore consisting, so I advice you the last album “The Unholy Communion” (released by the Spanish Xtreem Music, the label of Dave Rotten of Avulsed), where the Verminous shows to be really angry after waiting so many years to do it. Hence, sssh, don’t makes noise… and go to listen to them.

Vote: 66

Flavio “Claustrofobia” Adducci


1 – The Curse of the Antichrist/ 2 – Hang the Pope (Nuclear Assault cover)/ 3 – Revel in Flesh (Nihilist cover)


Official site:

Monday, November 25, 2013

Slutvomit - "Swarming Darkness" (2013)

Full – length album (Invictus Productions, 30th September 2013)

Line – up (2006):    M. Larson – vocals/guitar;
                                K. Sanberg – bass/vocals;
                                J. Zarnecki – drums.

Location:                 Seattle/Bellingham, Washington (USA).

Better song of the album:

“Morbid Priest (of Hell)”

Better feature of the band:

Its occasional moments of relative complexity.

“What’s the name of your band, my son?”, “Slutvomit!”. The Slutvomit have one of the coolest monikers of all times, it is demented and stinking as must be for a band of this kind. The band, founded in 2006, then drew the attention of the Irish Invictus Productions (the label where there are dodgy bands like Diocletian and Witchrist, warning!) and after it started to record its blasphemous debut album with eleven songs for 36 minutes circa of black/thrash fuckin’ metal made in USA.

I am not a big fan of black/thrash metal, don’t ask me why, but when I relate it with USA, country that hasn’t curiously a good tradition in the pure black metal, I think invariably to Summon and their album called “Baptized by Fire”, a little gem of furious metal full of blast – beats and chaos. All right, at this point the paragon with the Slutvomit doesn’t exist anymore because these ones, despite their moniker, are less wild than the appearances. Yeah, they loves seriously the fast tempos, especially through not too much unbridled tupa – tupas (there are also the blast – beats but not in a very frequent way), all the more so because the mid/slow tempos are almost inexistent. And yeah, the singer vomits some malefic and mocking screams with occasional bestial growls and hysterical falsettos a là Tom Araya. And still yeah (is it over, I hope?), the Slutvomit adore beyond every limit the solos, since some songs contains even three solos. And (for the last and ultimate time, he!) yeah, some tracks are so chaotic and intense that their length is just close to the 2 minutes of length (“Servants of Satan” and “Eden Ablaze”). BUT…

… but the Slutvomit, firstly, stands out both in the aforementioned tracks, where they shoots a wild fury, and in the longer and elaborated songs, like “Morbid Priest (of Hell)” (that contains even some doomish passages where the band plagiarizes manifestly “Gates of Nanna” of Beherit) and “Harbringer of Doom” (that was also into the EP of 2011 released by the German Iron Bonehead Records). Secondly, the band is even sometimes melodic, also during the solos, and this thing happens with a good frequency. Finally (and now it’s the turn of the flaws), the tupa – tupas aren’t always so effective as they must be, also because the music is a bit repetitive and foreseeable (I must mention the line vocals, for example), hence it’s a shame that the aforementioned songs are isolated incidents of excellent sonic massacre.

In conclusion, I excepted something better from the Slutvomit, nay, I should fuck Metal – Archives because, according to it, the band’s music should be raw black/death metal, misleading me another time, damn! All kidding aside, these boys have some good intuitions and clear ideas about their music so to follow in any case a recognizable style from start to finish, also during both the shorter and longer songs. But the problem is that these ones are so effective (especially the more structured tracks, where the band abandon for a while its raw simplicity, typical stanza/chorus scheme included) that the other songs are inferior to them. Hence, I advice to the band to follow the musical discourse of episodes like “Morbid Priest (of Hell”) for the next times, maybe adding contemporarily some touch of groove, that the ass dances when there is it (unfortunately, only in “Poservore” – awesome title, don’t you think?).

Vote: 69

Flavio “Claustrofobia” Adducci


1 – Swarming Darkness/ 2 – Downward Falling Christ/ 3 – Lucifer Unbound/ 4 – Bombing the Chapel/ 5 – Morbid Priest (of Hell)/ 6 – Poservore/ 7 – Necrovoyeur/ 8 – Servants of Satan/ 9 – Eden Ablaze/ 10 – Incendiary Rape/ 11 – Harbringer of Doom



Saturday, November 16, 2013

Horrifying - "Euphoric Existence" (2013)

This is the English translation of my 4th review written for an Italian webzine. Here you are the link of the original review (in Italian, of course!):

EP (Blood Harvest Productions, September 13th 2013)

Line – up (2010):   Johan M. – vocals;
                                Mario Carrasco – rhythm guitar;
                                Raul A. – lead guitar;
                                Putrid Body – drums.

Location:               Puerto Montt (Chile)

Better song of the EP:

The titletrack.

Better feature of the band:

The vocals.

Another Chilean band that I’m reviewing (keep calm, it’ll be the last ones of these apparently infinite series), the Horrifying have released few months ago, via Blood Harvest, this three – songs’ EP titled “Euphoric Existence” that shows, during only 12 minutes circa of sonic delirium, a variety very incredible for a band of this kind. But, obviously, don’t wait some progressive metal, “only” massive old – school death metal, starting with a very Swedish production thanks to its dark and fetid sound.

The platter opens with a bang with its shorter song “An Agonic Death”, that consists of almost 2 minutes full of a very simple death metal (also because there isn’t a guitar solo here) that is so furious to go through “ignorant” blast – beats without pity. But the very surprising thing comes from the frightful vomits and screams of the singer, he seems to be a beast and, in addition, he is supported by some reverb that makes the music in a more atmospheric way. His particular voice is very close to the bestial black/death metal standards, but you can hear this influence also as regard the music (as you will see soon).

The following one is the titletrack, that is the more structured and various song of the entire EP. Rhytmically, here the band ranges from anguishing doom tempos to crustlike tupa – tupas in typical Swedish style, not forgetting, as obvious, the blast – beats, emerging after a while thanks to an interesting crescendo structure. The riffing combines the Swedish approach with hysterical moments close to the US style, showing, finally, some good technical skills. Alas, the guitars are very crazy and disturbing during the doom passages. And still, there is also a very putrid solo. This song lasts 4 minutes and a half, and it sounds incredible since the premises of the opening track (that, anyway, is considered as an intro by the band).

The absurdity is that Horrifying surprises with the closing song too. The intro of “Petrifying Hallucinations” is characterized by a mad guitars’ orgy as teach the Slayer and, curiously, this time the music is a blasting death/thrash metal with some slowdowns and a riffing sometimes very close to the bestial black/death metal a là Heresiarch/Revenge (like during the moments where the chords’ guitar are slithered). There is also a good solo at the end of the song, but I would prefer its sudden conclusion already after the solo. Instead, the song go on reaching even the 5 minutes and a half of length, becoming a little prolix. For you, this can be an insignificant thing, but also the finale has its big importance, damn!
All in all, “Euphoric Existence”, also if it is totally devoted to the ancient metal, surprises every time the listeners. But, maybe, this is just its main vulnerability, because you can’t understand what is the true sound of the Horrifying. Is it the raw and devastating assault of “An Agonic Death”? Or the completeness of the titletrack (that synthesize in 4 minutes the entire Swedish death metal in a better way than God Macabre)? Or is it the thrashing and technical approach of “Petrifying Hallucinations”? Okay, the quality of music is indisputable, but I would like a more decisive style for the next time, maybe following the example of the titletrack.

Vote: 72

Flavio “Claustrofobia” Adducci


1 - An Agonic Death/ 2 – Euphoric Existence/ 3 – Petrifying Hallucinations


Saturday, November 9, 2013

Putrified - "Sacrilegious Purification" (2013)

EP (Hellthrasher Productions, October 15th 2013)

Line – up (2010):    A. Death – vocals/guitars/bass/drums/keyboards.

Location:                Stockholm (Sweden).

Better song of the work:

“Sacrificial Death Salvation”.

Better feature of the band:

Its bestial fury mixed with a good variety.
Cover artwork: A. Death

Ultimately, the Sweden is living a new great period of musical creativity about the old – school death metal. Now, the young metalheads listens to bands like Morbus Chron, Repuked (I reviewed in Italian their “Pervertopia” many months ago, check them out into the list of reviews here!) or Bombs of Hades, also because they have evolved the sound of masters like Entombed, Grotesque, Tiamat et similia. If you think, the revival of nowadays isn’t a real revival, but it is a simple movement of fresh flesh with a new sensibility, “new old – school” music and new dreams. In this way, the evolution is inevitable, don’t you think? Surely, now the superabundance of this kind of stuff involves both a less musical quality and a big difficulty to recognize the better bands of the genre but, in my opinion, the “new classics” can be released also into this “competition” atmosphere because, when there are many proposals, the possibilities to listen to a band with interesting features are very high. Or not?

So, here you are the Putrified, that are so conscious to belong to this “revival” movement to naming their own first demo as “The Return of the Swedish Old – School Death Metal”. Then, this solo – project band released even two albums between 2011 and 2012, A. Death is really prolific, so I’m going to review his new opus “Sacrilegious Purification”, consisting of 6 tracks per 22 minutes circa of slaughter.

The first important thing to say about the Putrified’s music is its fury, that is at times so bestial to closing to the early Tiamat of “Sumerian Cry” – era, all the more so because the dog – like vocals are very similar to those ones of Johan Edlund with the plus of occasional and strange voices, like desperate screams more “human” than the usual. The fury exhaled by A. Death consist of frequent blast – beats, also if the songs are very well – balanced between the fast tempos and the slower ones, not forgetting some headbanging moments here and there. Besides all this, the solos gives to the entire release a chaotic mood, the attack of the titletrack is a big example of this. Despite the ultra – violence, a single track can has even three solos, and these ones are well – played with a bunch of surprises during the listening of the EP.

In fact, the surprise – factor has a fundamental role in this work. First of all, the music of Putrified is influenced by many genres like black metal (the first two tracks especially), thrash (“Sacrificial Death Salvation” for example) and crust (“Evocatio”), while the closing track “Sacred Putrefaction” is based completely on doom metal. The black metal intuitions are helped by some minimalist and dark keyboards, but it’s a shame that they played only into the outros of many songs starting with “Sacrificial Death Salvation”. Secondly, A. Death try sometimes to be melodic, like in “This Poisoned Chalice” (but in this track the melodies aren’t developed in a good way) and the doomish “Sacred Putrefaction”. But this big variety isn’t always a good affair, also because the music risks to be less homogenous, maybe losing that incredibile violence, typical of many songs (so, “Sacred Putrefaction” is too different than the rest of the EP, considering even its very simple structure).

Despite all these considerations, the work contains a little death metal masterpiece titled “Sacrificial Death Salvation”, that has many anthology moments. By the way, the mid – section is awesome since it ranges from melodic and slow moments to ultra – furious assault through a crazy and simple restart. During these atmosphere shifts there is a long solo, able to adapt itself to the different and aforementioned passages. Neither I must forget the vocal performance here, in particular when A. Death screams the song’s title in the possible dirtier way!
Summarizing “Sacrilegious Purification”, it isn’t undoubtedly a new classic but contains a destructive old – school death metal with a very Swedish approach (production by the ex - Marduk Magnus “Devo” Andersson  included… and I love the wicked sound of the bass!) and an incredible variety combined with a bestial fury. But there are some important flaws here, like the tendency to not play the keyboards along with the other instruments (the first two songs excluded); the uselessness of some musical solutions for the song discourse (the melodic and groovy intro of “This Poisoned Chalice”); and a less homogenous sound (this point is linked to the aforementioned first one) all the more so because “Sacred Putrefaction” is the fish out of water of the EP. Fortunately, A. Death has an excellent talent to write very memorable songs, as “Sacrificial Death Salvation”, that can be the reference point for the future, maybe using the keyboards into the music in a more decisive way (like in “Pestilentialis”), and not only into the intros/outros.

Vote: 74

Flavio “Claustrofobia” Adducci


1 – Sacrilegious Purification/ 2 – Pestilentialis/ 3 – Sacrificial Death Salvation/ 4 – This Poisoned Chalice/ 5 – Evocatio/ 6 – Sacred Putrefaction



Wednesday, November 6, 2013

Process Mass Destruction - "Process Mass Destruction" (2013)

Demo (2013)

Formazione (2004):   Davide – voce/basso;
                                   Federico – chitarra ritmica;
                                   Simone – chitarra solista;
                                   Matteo – batteria.

Località:                     Abruzzo

Miglior pezzo del demo:

“Reason of Death”.

Punto di forza del gruppo:

gli assoli disturbanti di Simone.
A volte ritornano, e quando capita sono sempre (bei) dolori. Qualcuno di voi si ricorda i Mantide, strano e interessantissimo gruppo di cui tempo fa recensii l’EP “Eyes in the Jar”? Spero che voi abbiate la memoria lunga, IGNORANTI!, perché da quel gruppo proviene Federico, che con i Process Mass Destruction si è buttato in un’esperienza completamente diversa da quella dei Mantide. Ma a volte ritornano anche in un altro senso, dato che questo disco autointitolato segna il ritorno nelle scene dei Process Mass Destruction che, nati dalle ceneri dei Mutilated Christ, nel 2006 si sciolsero a causa purtroppo della morte prematura del loro cantante Nicola De Filippis aka Gino. Fortunatamente, passati 6 anni, Federico ha deciso di riformare il gruppo, di cui Matteo è l’unico vero volto nuovo della formazione. Così, dedicando questo lavoro alla memoria di Gino, i Process Mass Destruction (che bellissimo nome, non trovate?) hanno registrato finalmente, tra il Dicembre 2012 e l’Aprile 2013 ai TBox Recording Studio, i loro 5 vecchi pezzi + intro per 13 minuti di massacro sonico.

Più per la precisione, di che massacro si tratta? Eh, ragazzi miei, non recensivo qualcosa del genere dall’album “Vision Distortion Perversion” dei napoletani Undertakers, e ormai, cacchio, sono passati già 2 anni! Quindi, preparatevi a un brutalcore semplice e senza compromessi, bello cattivo dall’inizio alla fine tanto da non avere nessun momento neanche lontanamente melodico, mentre i tempi sono spesso belli veloci, andando da blast – beats fulminanti a tupa – tupa che alle volte sprizzano una notevole dose di groove che fa scapocchiare ben bene la testa.

Certo, da queste parti la varietà non è poi così accentuata (e questa è una cosa insita nel genere), ma i nostri, pur basando la propria musica sulla pura intensità tanto che certi loro brani durano poco meno di 2 minuti, sanno sorprendere alla grande l’ascoltatore e lo fanno usando un’arma che è veramente poco sfruttata nel brutal in generale: l’assolo di chitarra. Ma non sono assoli qualunque, perché quelli che vomita Simone (due in “Seven” – come il thriller disturbante con un Brad Pitt idiota e un Morgan Freeman filosofo? – e uno a testa sia in “I Scream” – che, per inciso, parte come una traccia dal vivo con il cantante che introduce la canzone al pubblico – che in “Reason of Death”) sono sempre incredibilmente malati e psicotici e, curiosamente, vengono sparati di solito durante i rallentamenti doomeggianti, che pure non sono nemmeno così infrequenti.

Nonostante la durata esigua dei pezzi, la loro struttura è a volte così soffocante che un pezzo come il manifesto programmatico “Brutalcore” non passa di certo inosservato, essendo costituito principalmente da un tira e molla apparentemente infinito fra i due passaggi di base. Poi, c’è anche “Reason of Death” a complicare un po’ le cose, viste alcune sue derive paranoiche dovute a una soluzione principale che viene suonata più del previsto (almeno la prima volta). Per fortuna, i cambi di tempo e di atmosfera non mancano (da questo punto di vista ascoltatevi soprattutto “Seven”, che a un certo punto acquisisce un groove irresistibile), ergo, alla fin della fiera, c’è un dinamismo mica da ridere.

Parlando invece del comparto vocale, questo risulta composto quasi esclusivamente da un grugnito bello ciccioso ma abbastanza versatile, in grado così di passare da tonalità (non eccessivamente) basse a delle vere e proprie urla, che comunque si possono contare sulle dita di una mano. Interessanti le linee vocali, specialmente nella folle “Reason of Death”, mostrando così anche una certa fantasia che non guasta sicuramente mai.

Tirando le conclusioni, il primo demo dei Process Mass Destruction si è rivelato veramente molto buono, anche se magari, per le prossime volte, consiglierei di sfruttare di più gli assoli, che costituiscono una caratteristica da me sempre benvista nel brutal. E adesso, ora che si è rimesso in moto tutto il meccanismo, i nostri stanno lavorando anche al proprio album di debutto, cosa ampiamente meritata vista la loro esperienza, quindi non vedo l’ora che esca perché il gruppo merita un sacco (ma serviva farlo presente ancora una volta?).

Flavio “Claustrofobia” Adducci

Voto: 77


1 – Intro/ 2 – Seven/ 3 – Gymnasum/ 4 – Brutalcore/ 5 – I Scream/ 6 – Reason of Death


Saturday, November 2, 2013

Secretpath - "Wanderer and the Choice" (2013)

 Album (Art Gates Records, 7 Giugno 2013)

Formazione (2008):     Paolo Ferrante – voce;
                                     Pierluigi “Aries” Ammirata – chitarre;
                                     Domenico De Cicco – basso;
                                     Francesco “Storm” Borrelli – batteria.

Località:                       Cosenza, Calabria.

Canzone migliore del disco:

“I’m Your Guide”.

Punto di forza del gruppo:

la sua capacità di combinare alla perfezione quintali di cattiveria con quintali di tecnica.
Dopo aver pubblicato circa un anno fa quella recensione ciclopica circa il magnifico secondo demo dei  Secretpath intitolato “Wanderer”, seppi dalla spagnola Art Gates Records dell’ingresso nella sua scuderia di questi 4 folli calabresi, che intanto stavano lavorando sul proprio album di debutto. Devo ammettere di aver aspettato con una certa trepidazione questo lavoro, anche per verificare se quel demo non sia stato solo che una fugace illuminazione. E poi recensire dischi di stampo più moderno, anzi, contemporaneo (come l’etichetta ama definire la musica dei Secretpath), porta un po’ di ventata d’aria fresca su queste pagine, che ultimamente sono state quasi monopolizzate dalla cosiddetta “vecchia nuova scuola” del metal estremo. Quindi, riaddentriamoci nei deliri dei Secretpath, e vediamo se sono stati capaci di mantenere le promesse fatte nel recente passato.

Appena si sentono i primi secondi dell’album, si capisce subito che lo stile del gruppo è rimasto invariato praticamente in tutto e per tutto, fino alla loro abilità nel creare sempre e comunque pezzi ultra – complessi e tecnici dalla durata media non indifferente di 5 – 6 minuti, compresi quelli acustici (“Nunc Sunt Flores” e “In Praecipiti Esse”). Ergo, la musica risulta essere ancora come una via di mezzo, virtuosa e capace di sorprendere l’ascoltatore in ogni momento, fra il death e il black metal. Ma la musica è rimasta la stessa anche perché gli ultimi 5 pezzi dell’album sono gli stessi del demo “Wanderer”, quindi si può dire che il disco sia stato diviso in 2 parti, che non differiscono molto fra di loro, a parte per qualche piccolo particolare inerente anche la qualità della musica.

A dir la verità, la prima metà dell’opera è formata dai pezzi provenienti dal primissimo demo (che guardacaso si intitola “The Choice”) , e risulta essere quella in un certo senso meno sperimentale (ma non per questo meno complessa, beninteso), nella quale il gruppo spara il suo classico death/black melodico caratterizzato da frequenti fughe strumentali (che praticamente sostituiscono i più convenzionali assoli di chitarra, sì presenti ma in modi un po’ subdoli) e dalla prevalenza dei tempi medi, alle volte incredibilmente pieni di groove, rispetto a quelli veloci (compresi i blast – beats). Solo che alcuni dei pezzi di questa prima metà non sempre convincono appieno, come “The Path”, che viene dilungata forse un filino troppo poco prima della mega – accelerazione in blast; e come “Still Darkness of the Abyss”, che è pazzescamente geniale fino alla rocambolesca fuga strumentale (nella quale alla fine c’è un’interazione perfetta fra le chitarre), però dopo di essa i ritmi rallentano facendo perdere stranamente d’intensità a tutto il brano. Inoltre, in “From the Woods of Lilith” vi è un piccolo deja – vù che rimanda a una melodia principale di “The Path”. Insomma, si sente che questi pezzi appartengono al primo demo.

I restanti 5 pezzi invece rimangono splendidi e immensi come li avevamo lasciati, anche perché risultano essere, oltre che decisamente più cattivi di quelli precedenti, anche quelli più riconoscibili di tutto il lotto. Così, si va dal delirio assurdista e malato di “Dark Forest of My Insanity”, che contiene pure una consistente parte doom, agli alti e bassi drammatici di “…and So i Return to the River”, che vive dell’alternanza fra i momenti metal e quelli acustici (alcuni dei quali molto delicati), per finire con “I’m Your Guide”, che è il brano, diciamo, più complesso anche dal punto di vista atmosferico avendo fra l’altro dei passaggi sognanti come nemmanco Enya riuscirebbe a fare, e un finale acustico da pelle d’oca per quanto è tenebroso. E’ curioso notare che ogni metà del disco abbia, come proprio terzo episodio, un intermezzo acustico, cantato sempre più o meno in modo pulito e in latino.

Uno degli aspetti più interessanti dei Secretpath è sicuramente il versatilissimo comparto vocale, il quale alterna, principalmente, delle urla spasmodiche a dei grugniti bassissimi che (raramente) diventano dei veri e propri “maialismi”, aumentando così ancor di più il contrasto già forte con un metal elegante che si ciba di vorticose derivazioni neo – classiche nel riffing. Non è tutto: abbastanza frequente è l’uso di una voce bella impostata e operistica (non presente in tutti i pezzi), in grado di aggiungere più drammaticità a tutta la musica, lasciando talvolta lo spazio a una voce più pulita e “naturale” se non a qualche parte più parlata.
Alla luce di tutto questo, “Wanderer and the Choice” (che ha segnato l’ingresso in formazione dell’ottimo bassista Domenico De Cicco, che ha sostituito Giovanni De Luca), pur avendo una prima parte non sempre efficace, è un album veramente con i controcosiddetti. Il gruppo ha un’inventiva pazzesca e vomita anche una cattiveria praticamente disarmante (tanto che mia madre, giusto ieri, è entrata in camera mia per dirmi “oh, questi so’ matti, questo è puro satanismo!”, e se i Marduk non le fanno un effetto simile, significherà qualcosa, no?), anche grazie a un comparto vocale sempre fuori parametro. Certo, avrei desiderato dei pezzi inediti, in modo da non andare sul sicuro con quelli vecchi, ma vi voglio vedere a scrivere brani sistematicamente lunghi e complessi come fanno questi ragazzi, che fra l’altro continuano la tradizione della Art Gates, che evidentemente deve amare molto i dischi da un’ora, chissà perché…

Voto: 88

Flavio “Claustrofobia” Adducci


1 – The Path/ 2 – From the Woods of Lilith/ 3 – Nunc Sunt Flores/ 4 – Still Darkness of the Abyss/ 5 – I’ve Chosen/ 6 – Essence of Chaos/ 7 – The Dark Forest of My Insanity/ 8 – In Praecipiti Esse/ 9 - … and So I Return to the River/ 10 – I’m Your Guide



Sito ufficiale: