Album Review – Der Rote Milan / Moritat (2019)

Enjoy these German tales from the past connected to the present through themes of freedom, fear and fighting oneself in the face of death, all embraced by first-class Black Metal.

I, II, III, IV and V. More than just Roman numerals, those represent the five pillars of a German Black Metal unity known as Der Rote Milan, who are beyond ready to keep haunting  our souls with their second full-length opus, entitled Moritat, the follow-up to and a logical progression from their 2016 debut album Aus der Asche. Not only that, their new album can also be considered a concept release, as Moritat tells local stories based on real events during a thirty-year war that took place during the 17th century, with its central character being the historical figure Schinderhannes, an outlaw considered by some to be the “German Robin Hood”.  These stories, which take place in the southwestern Germany’s Hunsrück region, are connected to the present through themes of freedom, fear and fighting oneself in the face of death.

Forged in 2015 in the fires of Trier, a southwestern German city in the Moselle wine region lying in a valley between low vine-covered hills of red sandstone in the west of the state of Rhineland-Palatinate, near the border with Luxembourg, Der Rote Milan (which would translate to English as “the red kite”) continue to play Melodic Black Metal in Moritat, finding their identity in a combination of vicious blast beats, catchy melodies, and calm, thoughtful moments. The lyrics are performed in German to underscore the local character of the stories, giving the whole experience of listening to their music an extra touch of aggressiveness, obscurity and pure evil. Comprised of six very detailed and bold songs, Moritat surpasses the 40-minute barrier in great fashion, positioning this cryptic entity as one of the most promising new names of the underground German scene.

Gentle notes gradually morph into a brutal but very melodic devastation entitled Die Habsucht (or “the greed” in English), where IV begins fulminating everything and everyone with his demonic beats while lead singer III fires some absolutely enraged roars, with the music flowing majestically until a somber and atmospheric break takes over, powerfully getting back to an infernal Black Metal ending. Then it’s time for I and II to pulverize our ears with their scorching riffs in Drohende Schatten (“threatening shadows”), a lesson in Melodic Black Metal by this Teutonic horde, sounding even more demented and violent than the opening track, whereas Gnosis der Vergänglichkeit (“gnosis of transience”) is an ode to all things dark and mournful with a melancholic Atmospheric Black Metal-inspired intro where III’s otherworldly growls and vociferations sound utterly anguished and grim, while V keeps the ambience menacing with his low-tuned bass.

And that intricate and lugubrious vibe keeps haunting our souls in Der letzte Galgen (“the last gallows”), where III growls demonically while his bandmates extract the most vicious and piercing sounds possible from their instruments, with IV once again stealing the spotlight with his precision and technique, getting almost tribal with his beats at times (which in the end enhances the song’s taste and punch even more). There’s no time to breathe with more of their vibrant fusion of classic Black Metal with distinct melodic and atmospheric styles in Der Findling (“the boulder”), reaching deep inside our hearts and blackening them beautifully, with I, II and V being in a fantastic and extremely evil sync with their strings, before the title-track Moritat (“ballad”) brings to our metallic ears 12 minutes of visceral sounds and noises, with the amount of aggression and obscurity flowing from each instrument being truly outstanding. Not only that, IV keeps demolishing his drums in a very precise and melodic way, while the guitars sound and feel extremely sharp, therefore cutting our skins mercilessly, with the music remaining epic until the song’s triumphant and dark finale.

In case these simple, straightforward words are not enough to show you how potent and somber the music by those German metallers sounds and feels, you can take a more detailed listen at Moritat in its entirety on YouTube, and of course after getting stunned by their disturbing sonic waves you must check what Der Rote Milan are up to on Facebook, and purchase Moritat from their own BandCamp page, from the Unholy Conspiracy Deathwork’s BandCamp page or Big Cartel, from iTunes or from Amazon. In a nutshell, the gates to the underworld of German Black Metal are open, and Der Rote Milan are right there waiting to claim your soul to the sound of their brand new, pulverizing concept album of first-class Melodic Black Metal.

Best moments of the album: Drohende Schatten and Moritat.

Worst moments of the album: None.

Released in 2019 Unholy Conspiracy Deathwork

Track listing
1. Die Habsucht 6:10
2. Drohende Schatten 3:26
3. Gnosis der Vergänglichkeit 7:42
4. Der letzte Galgen 7:21
5. Der Findling 4:16
6. Moritat 12:01

Band members
III – vocals
I – guitars
II – guitars
V – bass
IV – drums

Album Review – Strangle Wire / The Dark Triad EP (2018)

Enjoy this short and sweet lesson in Death Metal made in Northern Ireland, taking you into the dark heart of the human condition.

Behind the locked doors that lie in the shadows, at the end of forgotten passageways, in the depths of every human mind, madness waits, scratching at the splintered wood with bleeding fingers. However, sometimes those locks fail, or the keys are purposefully turned, unleashing the monsters from within. The Dark Triad, the brand new EP by Northern Irish Death Metal quartet Strangle Wire, is the sound of the monsters set free, the sound of broken minds and twisted personalities, and the sound of an insidious assault on the light that keeps the night at bay.

Formed in 2017 in Belfast, Northern Ireland’s capital, the band comprised of I (Pete Clarke) on vocals, II (Greg “Daff” Diffin) on bass, III (Ross Duffy) on the guitar, and IV (John Curlett) on drums plays what can be called “Psychological Death Metal”, being highly recommended for fans of Dying Fetus, Cannibal Corpse and Sinister, among several other Death Metal icons. Featuring a classic artwork by British musician and designer Tom Bradfield, The Dark Triad is divided into three sections, entitled Narcissism, Psychopathy and Machiavellianism, taking the listener into the dark heart of the human condition, propelling them ever onward with a musical force of savage intensity, Death Metal possessed of speed, groove and supreme heaviness.

III (or Ross, if you prefer) kicks off the Death Metal hurricane titled The Games They Play with his metallic riffs before pure anarchy and devastation take over the world, with I (Pete) firing his deep, enraged and bestial growls nonstop. Put differently, this is one of those songs tailored for fans of extreme music who simply love to slam into the pit more than they love anything else in life. Then tribal sounds start another heavier-than-hell, putrid Death Metal feast named The Narcissist, a slow and steady tune from the pits of hell led by the rhythmic beats by IV (John), while II (Greg) and III keep slashing our skin with their demonic strings. Then we have Psychopathic Blue, showcasing guitar lines that remind me of the work done by Thrash Metal acts like Slayer and Testament, but still being pulverizing and demonic as good old Death Metal should be. The quartet is on fire and in total sync throughout the entire song, delivering belligerent and rabid sounds for our total delight, with I’s hellish roars getting even deeper and more primeval.

And their metallic demolition goes on with more furious blast beats, infernal vociferations and crushing riffs in The Failure Exhibit, where the band practically demands that we all get into the circle pit and slam to the total havoc they generate by their instruments; whereas if you’re a diehard fan of old school Death Metal the likes of Cannibal Corpse you’ll have a blast with Through a Black Lens, where IV sounds like a machine gun on drums while I is a demonic bulldozer on vocals. Furthermore, there isn’t a single second of peace during the entire song, it’s nonstop action boosted by the excellent riffage by III and a beyond violent atmosphere. And last but not least, as the final onrush of extreme music by Strangle Wire we’re treated to a headbanging, menacing chant titled Den of Iniquity, sounding insanely heavy from the very first second until its neck-breaking end, while I keeps barking like a creature from a deep and dark cave.

The Dark Triad, which is available for purchase from the Grindscene Records’ webstore, from Code 7, or from Amazon, is not only a very promising and vibrant start for Strangle Wire, but also a “mini-lesson” in how to properly unite technique, feeling and rage in Death Metal and in extreme music in general. And if that’s just a mini-lesson as I said, can you imagine how pulverizing Strangle Wire will sound when they come back with their first full-length lecture?

Best moments of the album: The Games They Play and Through a Black Lens.

Worst moments of the album: None.

Released in 2018 Grindscene Records

Track listing  
1. The Games They Play 3:33
2. The Narcissist 4:26
3. Psychopathic Blue 3:21
4. The Failure Exhibit 3:39
5. Through a Black Lens 3:56
6. Den of Iniquity 4:50

Band members
I – vocals
II – bass
III – guitar
IV – drums

Album Review – Skáphe / Skáphe² (2016)

Embrace the psychotic and dissonant uproar pouring from the satanic Black Metal crafted by this implacable duo, and you’ll definitely shorten your descent to the netherworld.

Rating5

skhape2_coverBorn in 2014 as a new project from American multi-instrumentalist A.P., also known as Alex Poole (Chaos Moon, Esoterica, Krieg), and having released their self-titled debut full-length album that same year, Chaotic Black Metal band Skáphe return with their disturbing music and nightmarish vibe in Skáphe², an album that not only will keep haunting your soul just like their first installment, but that also consolidates this talented American duo as one of the most promising Black Metal acts in the world of heavy music.

The addition of Icelandic singer D.G., or Dagur (Misþyrming, Naðra), added a lot of dark power to this band from Philadelphia, located in the state of Pennsylvania in the United States, enhancing the obscurity, impact and malignancy found in their music. In other words, the macabre passages and enigmatic vociferations in Skáphe² will simply bring your deepest fears to light (or maybe I should say to darkness), a usually desired effect of Black Metal on people. Moreover, the hypnotizing artwork by Icelandic musician and artist H.V. Lyngdal, exhibiting an eviscerated devil devouring a human being, is the perfect depiction of our mental insanity and of our souls poisoned by the same fears exposed in the music by Skáphe.

Instead of regular song names, Skáphe simply numbered their creations from 1 to 6 in Roman numerals. The first track, entitled I, offers a darkling psychedelic start followed by a turmoil of dissonant growls and blast beats that will lacerate your soul, proving why they don’t label themselves “chaotic” in vain. In addition to that, D.G. provides his business card as the demonic voice of Skáphe in this bestial Black Metal chant with lots of Atmospheric Doom elements added to increase its infernal aura. II continues right where the opening track stopped, which means more satanic passages and cavernous screams with A.P. putting all his demons and anger into the music, resulting in sheer darkness. Needless to say, the anguished grasps by D.G. will make you feel very uncomfortable (in a good way, of course).

skhape_apIII, the third installment, is even sharper and more mesmerizing. It’s fast and sludgy at the same time thanks to the excellent job done by A.P. with all instruments, resulting in an ode to Black and Doom Metal represented by four minutes of despair with absolutely no hope in sight. In the Stygian tune IV, D.G. howls like a werewolf during its obscure start, and its eight minutes of extreme music are definitely not suitable at all for the faint at heart. Moreover, after an eerie break in the middle of the song, brutal Black Metal nicely explodes from all instruments for our total delight.

Obviously, the fifth chant, named V, keeps the fires of hell burning bright, showcasing a tormented performance by D.G. enhanced by the reverberating riffs and the doomed drumming by A.P. The tone of the guitar throughout the whole song is amazing, sounding like a downward spiral to Hades. And finally, the last tune VI reminds me of the most obscure songs by Triptykon at first, evolving to an extremely disturbing form of dark music. A.P. has an enraged performance, while D.G. continues his demented path to the underworld. And when the blasting Black Metal music stops, we’re treated to about two minutes of wicked background noises, meaning we’ve finally reached the gates of hell.

You can get more details on the apocalyptic loudness engendered by Skáphe at their Facebook page, and if you really want to add more affliction and pandemonium to your everyday life, you can buy a copy of Skáphe² at the band’s official BandCamp page, at the I, Voidhanger Records’s BandCamp page, at the Fallen Empire Records’ webstore (LP version) or at the Vánagandr’s Big Cartel page (cassette version). Embrace the psychotic and dissonant noises pouring from the satanic Black Metal crafted by this implacable duo, and you’ll consequently shorten your descent to the netherworld.

Best moments of the album: III and V.

Worst moments of the album: None.

Released in 2016 I, Voidhanger Records/Fallen Empire Records/Vánagandr

Track listing
1. I 6:32
2. II 4:40
3. III 4:11
4. IV 8:16
5. V 5:42
6. VI 6:34

Band members
D.G. (Dagur) – vocals
A.P. (Alex Poole) – all instruments

Album Review – Tod Huetet Uebel / Malícia (2015)

If you let the infernal and malevolent music by this amazing Portuguese duo reach your heart, there’s no coming back.

Rating4

Cover_CDLet’s end this week on a high note with the flammable Black Metal by the talented Portuguese duo Tod Huetet Uebel, and I must assure you that you won’t be the same after listening to what they have to offer. By the way, the name of the band is the German for “death guards evil”, a more than suitable caption for the disturbing music you’ll find in their debut full-length album, entitled Malícia (the Portuguese word for “malice”). If you had no idea of how demonic music can be in Portugal, you better get ready for the heartless war found in this album.

Created from the very essence of hatred in 2012, Tod Hueted Uebel define their music as “a post-traumatic Black Metal experience” that “will leave mental bruises and scars in those who dare listen to the torments that dwell within”. Well said, guys. That perfectly summarizes Malícia, an album that will please fans of the darkest Black Metal you can imagine. Featuring an amazing 6-panel digipak with artwork by French artist/musician Valnoir (Metastazis), the level of wickedness and laceration in the album is not for the ordinary metal fan, making it a demanding listen for those who are not used to the atrocities of extreme music.

In the opening track, eccentrically named XIII (and get used to that, because all songs have names based on Roman numerals), a sinister intro flows into a diabolical sounding built upon modern Black Metal but without losing its traditional viciousness and speed. Multi-instrumentalist Daniel C. is responsible for crafting the music in all tracks, offering singer Marcos M. the perfect ambience for his anguished growls, and let me tell you this dynamic duo will darken your spirit already on the first track of the album (which is always the main goal in Black Metal, of course). And darkness is here to stay based on the nonstop violence and vileness delivered in I, where Marcos M. keeps disgorging his putrid snarling, unnerving your mind in a disquieting 9-minute first-rate aria of malignancy for lovers of classic Extreme Metal with a desolating and melancholic ending that obviously gets back to a sonic havoc before the song is actually over.

Their anger just grows in XII,  where Daniel C. is simply bestial on drums and guitars, delivering sick riffs and demonic beats and fills perfect for the harsh vocals by Marcos M., with another short break for the listener to take a deep breath before diving back into the musical twilight engendered by Tod Huetet Uebel. Moreover, their lyrics in Portuguese are as evil, poetic and awesome as possible (“Quero morrer, ser inverso ao amanhecer / Quero perecer, na demora da tua obra / Sinto-me leve, disperso ao corroer / Do sentimento que vos mantém / Amantes a ninguém”, which would translate to English as “I want to die, be reverse at dawn / I want to perish, in the lateness of your work / I feel light, scattered as I corrode / From the feeling that keeps you / Lovers to no one”), increasing the impact of their music.

XX VIII XXI is an instrumental tune that feels like a fiendish entity penetrating our flesh, working as an intro to the barbaric IX, where the initial scream by Marcos M. sounds inhuman while the instrumental parts continue their onslaught of darkness. It’s sheer Black Metal that will please all fans of the genre, making it extremely easy and interesting to feel all the pain and grief stemming from their ghoulish vocals. III might be the shortest of all tracks, but it surely delivers everything a good Black Metal chant needs, being precise, berserk, melodic and lugubrious, with Marcos M. with his growls and howls and Daniel C. with his lancinating riffs generating an ode to hopelessness and evil.  Besides, when they sing in English their lyrics are no less complex and beautiful, proving how talented this duo is (“Blood Libels of regal contempt / Dichotomy of essence and paragon of woe / The face of things to come / Burn this flesh oh dying light / In thy untold furnace of quintessence / Aether of malignant perfection”). Lastly, presenting elements from Doom Metal and Blackened Doom, the hindmost opus in Malícia, entitled V, is definitely the most nerve-racking of all. This time, Daniel C. focuses on mesmerizing and grievous notes while Marcos C. sounds like he’s being dragged down to hell, and I dare you to survive its 8 minutes without feeling totally uncomfortable or distressed in the end.

In summary, if you consider yourself a genuine adorer of the most perverse and heinous forms of Black Metal, I highly recommend you go after the music by Tod Huetet Uebel, available at their BandCamp and at the Caverna Abismal Records BandCamp. This sharp and impressive duo from Portugal is brilliantly cementing their dark path in the world of Extreme Metal, and in case you let their infernal music reach your heart, I must warn you that there’s no coming back.

Best moments of the album: I, XII and III.

Worst moments of the album: None.

Released in 2015 Caverna Abismal Records

Track listing
1. XIII 5:49
2. I 9:00
3. XII 7:20
4. XX VIII XXI 1:15
5. IX 7:05
6. III 5:30
7. V 8:00

Band members
Marcos M. – vocals
Daniel C. – all instruments

Album Review – Ektomorf / Aggressor (2015)

When you listen to this awesome album by one of the best Hungarian metal acts of all time, you’ll definitely become an aggressor.

Rating4

ektomorf_aggressorLast year, when I reviewed the excellent album Retribution, by Hungarian metallers Ektomorf, I said they were a promising band who were undoubtedly going to grow a lot in the following years due to the passion and energy they always invest into their furious mix of Groove and Thrash Metal. Well, it actually took a lot less than expect for them to reach a whole new level of savagery and become a pleasant reality in the world of heavy music, because the 46 minutes of groove and brutality found in their brand new album, entitled Aggressor, kick fuckin’ ass beyond dispute.

In addition, if you listen to Retribution and Aggressor in a row (a highly recommended activity if you’re at the gym, by the way), you’ll easily notice their evolution as musicians, in special frontman Zoltán “Zoli” Farkas who improved his hostile vocals considerably, therefore providing additional layers of fury to his band’s musicality. Not only that, their lyrics continue to be as violent as hell, totally no holds barred, which together with a more complex songwriting offer the listener one of the best Groove Metal albums of the year in my opinion.

The ominous and primeval Intro sets the tone for the massacre straightforwardly entitled I, where you can clearly see how they stepped up their aggressiveness, cohesiveness and technique if compared to most of their old songs. This is one of those tunes that will make your blood boil in a good way, pumping you up for whatever task you’re about to take on. And the title-track Aggressor is even better, making it hard not to break your fuckin’ neck to those insanely heavy riffs. Can you imagine the level of craziness this tune will cause during their live performances? Besides, the groovy bass lines by Szabolcs “Szabi” Murvai are what give the song its balance and punch, enhancing the overall quality of this great composition. In the dark Holocaust, composed “in the memory of the 6 million victims”, Ektomorf raise the flag of “never forgive, never forget” in Auschwitz, inspired by the music by Sepultura and the horrors his people suffered. If you don’t know, Zoli has European Roma/Gypsy roots, who were also massacred by the Nazi, perfectly depicted by this brutal Groove Metal tune with puncturing guitar lines and solos.

Move On gets closer to what they did in Retribution, delivering American Alternative Metal with extra doses of violence. It’s one of those songs drummer Róbert Jaksa might love playing, pounding his drums violently while the rest of the band extracts the fiercest sounds from their instruments, especially guitarist Tamás “Tomi” Schrottner; while Evil By Nature, featuring the iconic George “Corpsegrinder” Fisher, is a flawless mix of the Groove/Thrash Metal by Ektomorf with the unparalleled Death Metal by Cannibal Corpse. Everyone knows I love the growls by Corpsegrinder, and I have to say they matched perfectly with Ektomorf’s musicality. In other words, this is an amazing vocal duo, like two beasts screaming against the rest of the world, with the lyrics being spot-on showing what the human being truly is (“Hate runs through your veins / Insanity in the unspoken words / Deaf from the screams of the devil / Hungry for blood / Hungry for death”). Furthermore, take a read at Zoli’s comments on how the vocals by Corpsegrinder were recorded, giving the song an even more visceral vibe: “We are friends with the Cannibal Corpse guys since a long time. Last year in November I spoke to George (Fisher) about doing a song together. The recent Budapest show of Cannibal Corpse then was the perfect opportunity to meet and record his parts. So I took small home recording studio gear with me and recorded vocals with George in the dressing room before their show. It was fun and turned out killer! The song’s title is “Evil By Nature” and you can be sure that it will smash your face!”

ektomorf 2015Getting back to a more traditional approach, in You Can’t Get More they keep thriving with their unique Eastern European metallic groove. At this point of the album it’s undeniable how Zoli has grown as a singer and a musician, showing you don’t need to stop screaming to evolve in your career, don’t you agree? And I’m not sure if you’ve noticed this already but all songs in Aggressor are connected, enhancing the album’s flow and effectiveness, which is the case in Emotionless World, where they add elements of Melodic Death Metal to the music in a sinister ambience crafted by its sick guitar riffs, and despite its chorus not being purely screamed it ends up working pretty well. Eastside showcases an acoustic intro before it gets as belligerent as possible, with its chorus being fueled by hints of Slipknot. It’s yet another awesome composition inspired by the most obscure periods of the Hungarian history, with Zoli and Tomi doing an amazing job firing sheer darkness through their guitars.

Scars is perhaps the most generic of all songs, lacking more creativity to get to the same level of awesomeness as the other songs, whereas Damned Nation is a beautiful display of how modern Groove Metal should be. Moreover, Zoli bursts his lungs out vociferating the song’s name during the chorus of this boisterous chant made for banging our heads nonstop. The next tune, You Lost, sounds extracted from their previous album Retribution, containing lots of similar elements such as groovy bass lines, rhythmic beats and a solid shift from guttural to clean vocals and vice-versa, followed by the simple but effective You’re Not For Me, which focuses on the screams by Zoli and of course the band’s traditional heaviness. Fans of the band will love this nice blend of a fast sounding and a more rhythmic and aggressive chorus that goes on until the song darkly fades away, being replaced by the purely acoustic track Memento, a melancholic tribute to their roots and to their culture, and maybe a smoother version of the “never forgive, never forget” message as you can see by the name of the song.

In summary, what are you waiting for to connect to Ektomorf on Facebook and to purchase Aggressor at the official AFM Recods webstore (I would personally go for the superb Limited Fanbox edition) or on iTunes? If there’s one lesson Ektomorf can teach all of us, it’s for sure the fact that whenever we listen to their primitive and robust metal music, we become true aggressors.

Best moments of the album: I, Aggressor, Evil By Nature and Eastside.

Worst moments of the album: Scars.

Released in 2015 AFM Records

Track listing
1. Intro 0:45
2. I 3:49
3. Aggressor 2:35
4. Holocaust 3:56
5. Move On 3:04
6. Evil By Nature (feat. George “Corpsegrinder” Fisher) 4:23
7. You Can’t Get More 3:22
8. Emotionless World 3:26
9. Eastside 4:17
10. Scars 3:42
11. Damned Nation 2:39
12. You Lost 2:56
13. You’re Not For Me 4:50
14. Memento 3:03

Band members
Zoltán “Zoli” Farkas – vocals, guitar
Tamás “Tomi” Schrottner – guitar
Szabolcs “Szabi” Murvai – bass
Róbert Jaksa – drums

Guest musician
George “Corpsegrinder” Fisher – additional vocals on “Evil By Nature”

Album Review – Necropoli / I (2014)

Unique and avant-garde Funeral Doom Metal from Italy, recommended for lovers of the darkest side of music.

Rating5

Forged by musicians Rodolfo Baroni and Dario Fabiani in the wonderful city of Rome, Italy, the music by Funeral Doom / Avantgarde Metal band Necropoli might not be an easy listening for people who usually stick to basic radio stuff, including even the most badass Rock N’ Roll radio stations. However, it’s indeed a delectable experimental voyage with lots of Dhrone, Death, Black and Downtempo influences, going way beyond the average Doom Metal most of us are used to, taking your senses to a whole new freakish level.

Their debut album, symbolically named I, can be considered an epitome of darkness in heavy music, with its truly long and devilish songs taking you down to a world where things like happiness, beauty and love do not exist at all. Just by looking at the album art you know this is not going to be just another commercial album full of cheesy content.

When you listen to the baby crying during the ominous intro in Ashes of my Soul, you can get a taste of how grim Necropoli can be. But it’s when their slow and dark Doom Metal really begins, with the deepest growls you can think of and its double bass and eerie synths giving the whole song a totally lugubrious atmosphere, that you’ll feel you’re like taking part of a ritual. In addition, its obscure lyrics (“This restless circle is complete / This maze will never set me free / The winds of eternity shall take away / The ashes of my soul…”) and its more than frightful ending complement the song very effectively.

Inner Space starts with some kind of weird electric or industrial sounds, and its intro goes on for almost three minutes before turning into ferocious Black Metal with sick guitar riffs and guttural vocals. It goes back to pure atmospheric music with sounds of ocean, seagulls and an acoustic guitar after seven minutes, finally becoming a Doom Metal tune to finish this dark sonic journey. A Step doesn’t make things happier or lighter, focusing on interesting piano keys blended with evil vocals and heavy riffs, all enhanced by depressive lyrics (“Opening his eyes and looking at the world around me, one single step / I got lost in it and maybe found myself many times in my path”) and an ending that is a fuckin’ massacre.

NECROPOLI band photoHowever, things get even more interesting in Silence Awaits Me, another ghostly tune filled by symphonic elements, getting closer to Death Metal in some moments and with so many rhythmic breaks it could easily be divided into three or four distinct songs.  Very epic and full of feeling, it encompasses 17 minutes of occultism and mystery that will please anyone that enjoys this type of music. And closing the album we have Curriculum Vitae (I have no idea why they chose this song name), the only track with less than 10 minutes of duration: it’s such a weird outro, consisting of demonic voices accompanied only by some persistent low synths, that I don’t know what to say about it. You’ll have to listen to it and take your own conclusions.

In summary, Necropoli’s debut album I, available at the band’s official Bandcamp page, is as unique and avant-garde as it can be, always focusing on a more unhappy and wicked side of life, of course, which doesn’t mean you’ll regret listening to it. Quite the contrary, I bet you’ll keep going back to it again and again to savor its complexity, heaviness and malice.

Best moments of the album: Silence Awaits Me.

Worst moments of the album: Curriculum Vitae.

Released in 2014 Independent

Track listing
1. Ashes of my Soul 10:37
2. Inner Space 11:47
3. A Step 12:13
4. Silence Awaits Me 17:06
5. Curriculum Vitae 4:04

Band members (Recording line up)
David Unsaved – voice
Dario Fabiani – guitar, bass, synth, vocals, programming
Rodolfo Baroni – guitar

Current line up
David Unsaved – voice
Dario Fabiani – guitar, bass, synth, vocals, programming
Francesco Romano – drums