Tag Archives: italy

Review + Streaming: VIII – Decathexis

If you are one who lurks in the Black Metal underground you’ll most likely be familiar with ‘VIII’, who, after a self titled demo under the name ‘Division Hate’ in 2011, crunched their name down to its current form, a contraction of the word “eight” for its likeness to “hate”, and this ability for creative and experimental thinking reflects in the sound of their newest release.

This latest offering , titled ‘Decathexis’, is the follow up to 2014’s debut full length ‘Drakon from the Italian duo, both former members of defunct Black/Death outfit ‘Crowned in Thorns’ and  is their  most experimental offering to date, a sound that is initially reminiscent of  ‘Khold’,  adding  Doom elements along with ritualistic sounds  and really pushing through the boundaries on this release with the inclusion of a lot of Jazz elements and ambient/industrial soundscapes. The result is a dark and fascinating listen. Continue reading Review + Streaming: VIII – Decathexis

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Review: Mourning Soul – Ego Death – Ritual I; Exclusive Premiere of A Single

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Imagine a traditional black metal sound scourged with a modern death metal vibe (similar to SepticFlesh or Devilish Impressions). Now you have the primary idea on how Mourning Soul is going to sound like. This comparison, doesn’t merely represents the talent the band has showcased while composing the materials for their debut album ‘Ego Death – Ritual I’. The stunning amalgamation of fury and melody prevails throughout the 9 chapters, accompanied by poetic lyrics relating to death and humane suffering.

Mourning Soul excels in mixing up the two very different genres to a perfect balance. You can feel the shivering lunacy of black metal as well as the splendor of melody driven death metal. A noticeable level of synth has been implemented to enhance the background; polishing the atmosphere with a more darkened vibe. The synth is not over-imposed, thus leaving more room for the guitars to shine. In brief, the sound of this record could be considered as a tasteful melodic black metal. The singing styles vary mostly around mid-ranged to high pitch vocal, with frequent use of clean voices. The sound on full-length is not over produced, but provides a clearer tone. Often, the music gets to a bit raw sounding, which are pretty handy.

It’s pretty hard to pick the highlights from ‘Ego Death – ‘Ritual I’, most of the songs being very solid and enjoyable. Personally, I’d select ‘Resurrection through the Serpent’s Light’, ‘Bleeding by Bones’ and ‘The Judgement of Gehenna’.

Mourning Soul has been around for 14 years, therefore you can estimate the efforts and brilliance they put in their debut album. ‘Ego Death – ‘Ritual I’, therefore is not another brick in the wall. Anyone having interests on Swedish/German black metal should check these guys out.

Score: 84/100
Venustas Diabolicus is premiering the sixth track off the full-length exclusively, which you can hear from the link below:

Release Date: 25th March, 2016
Label: Dolorem Records
Lineup:
Sacrifice – Vocals, Bass, Synths
Decrepit – Guitars, Synths
Nocturnal Fog – Drums, Synths
Mourning Soul: Facebook || Web
Dolorem Records: Facebook || Bandcamp

 

 

Riti Occulti – Riti Occulti Review + Streaming

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Without any doubt, it is exasperating to discover the new stoner/doom metal bands tend to be a clone of Electric Wizard or try to imitate the ponderous Sabbathian riffs. Considering the black metal bands of this era, yet, it is still hard to stumble on the music that is not a reproduction of a mimeo. Riti Occulti is an exception, who inventively incorporates the elements of black Metal, stoner, traditional doom and psychedelic/space rock to their music and leads their hypnotic opuscule to a supreme level.  Their last release Secta (Link: http://wp.me/p42NGB-dh) has already been reviewed in our webzine, and it is time to feature their self titled debut oeuvre.

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From beginning to end, the tracks are swaddled under the well structured thick, fuzzy and atmospheric bass riffs that try to replace the absence of guitar in this record. In case anyone is not aware, then it needs to be divulged that the band does not use any guitarist. Thick, distorted reverberate of the bass may lead the listeners to a doomish mud-spattered route filled with the existence of evil entity. Iteration of the same rhythmic bass tones evokes a slightly monotonous feeling, but obviously it cannot be considered as a big withdrawal of the release. Unexpected interruption of the hallucinatory effects of the synth can mostly be considered as a welcoming, yet a few times it sounds in an ill-defined way. But one thing is certain that the usages of synthesizer creates a bizarre and at the same time a ritualistically haunting environment that holds the control to enchant the listeners. Drum works are delivered in a quite straightforward way, and the fusion of the simplistic drums and heavy bass tones triggers a raw sound. Overall production of the album can be regarded as raw despite the tranquilizing effects of the keyboards.  Usage of ethnic instruments and flute can also be perceived in the track “Desert of Soul”.

Both vocals, Serena and Elisabetta are just sensational with their voice. The combination of Serena’s harsh spooky black metal vocal together with the aesthetic histrionic voice of Elisabetta, generates breathtaking aura. Serena’s demonic vocal conjures the most of the part of this memorable album, whereas it is a pity that Elisabetta’s extraterrestrial voice appears mostly on the background.

The band has not revealed the lyrics, but checking the titles of the track and the concept (which is about a man making a journey to the abyss and then re-emerging through initiating the principles of the left hand path) of the entire album, it can be assumed that some occult, dark and mythological aspects are included here wisely.  The track “Alcyone” is an example, which is probably somehow related to the Hellenic myth.

Riti Occulti directs their musical path in a different and at the same time in an appealing way. Self titled full length, in a nutshell, deserves much admiration. Nordavind Records from Portugal has really done a brilliant job by re-issuing this misprized craft.

Score: 79/100

Stream and Order “Riti Occulti”

Originally Released by: Epidemie Records on May 07, 2012

Re-issued by: Nordavind Records on February 23, 2015
http://nordavindrecords.com/

Lineup:

Niccolò Tricarico Bass, Bouzouki
Luciano Lamanna Keyboards, Effects
Serena Mastracco Vocals (harsh)
Elisabetta Marchetti Vocals (clean)
Ivano Mandola Drums

Guest/Session:

Stefano Todarello Flute (Guest)

Homepage of Riti Occulti         Facebook of Riti Occulti

 

——————————By: Zoheb Mahmud—————————–

 

Riti Occulti – Secta

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I got hypnotized for a while when I first discovered the monumental music of Riti Occulti. Their self titled debut album subjugated me to hail their miraculous music skills. Their second offering, “Secta”, a concept album that elucidates the Alchemical evolution from Plumbum to Argentum (Silver) and Aurum (Gold). Comparing “Secta” with the debut album, it can easily be avowed that the band has evolved much both in terms of sonority and concept.

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Before moving to the actual review, this is to be informed that the band plays a meld of black and stoner/doom metal and they play it without having any guitarist. So, the last part of the previous statement may perplex others or it may influence other to carry the question – “how does  the band sound without guitar?”. Well, it can surely be assured with one voice that with the exception of guitar usage, their sound is not inferior to that of any other peers.

Nigredo” (blackness), the initial and the putrefaction step of the alchemical voyage has been named as the opening of the album. The track is a borrowing from “Tecum Principium“. Second track, “Plumbum” offers a slow paced experience and the usage of saxophone definitely provides a well platform to make it an interesting one.  Elisabetta’s haunting voice flourishes the track properly.  Thick bass line  in the beginning part of “Stannum” actually reminds me of the extreme vibes of the bands like Mystifier, Mortuary Drape etc. The overall bass deliveries in the track together with the accurate drumming, hallucinatory effects of the synthesizers and the combination of the voice of Serena and Elisabetta bound me to consider it as one of the best tracks of the album.  Seductive effects of the synthesizer and the enchanting bass rhythms present in “Ferrum” took me to the early acid,occult rock and Black Sabbath era.  The music has truly turned as strong as the Iron (Ferrum) in this track.  The mystic trip keeps running with “Aes”, “Argentum”, “Argentum Vivum”. Sudden necrotic screams of Serena may shiver the audiences in the “Argentum” track and obviously this is another favorite from the album.  Second part of “Argentum Vivum” purveys an eerie, dark, ritualistic atmosphere that is really fascinating.  In “Aurum”, the band successfully passes the steps of both Citrinitas and Rubedo. The goal of turning silver to gold has been achieved through it and ingeniously they have placed the mystique concept in their music. It is a bit confusing that why has the band named the last track as “Albedo” as it has been regarded as the second phases (phase of whiteness) and the band has already achieved their ultimate goal in the track “Aurum” where the silver has already been turned into gold.

It is always enjoyable to listen to the extreme metal bands who are not a leaf out of other’s book. Riti Occulti is truly one of them that develop their own sound. The lyrics are properly written according to the concept. Liquid bass work of Niccolò that engulfs the whole album never makes me feel the absence of the guitar. Soul-stirring voice of Elisabetta can be regarded as the voice of a white witch and the nefarious screams/screeches of Serena are enough to reincarnate the evil. Synthesizer? of course it perfectly balances the atmosphere of the album with the help of superficial (yet perfect) drumming. But what would happen if they had any guitarist? Who knows? Maybe more alluring or maybe not, but surely the album is highly recommend to the likers of black metal, stoner, doom and the early acid, occult rock.

Score: 83/100

By: Zoheb Mahmud

 

Track-list:

1. Nigredo 02:01
2. Plumbum 08:34
3. Stannum 05:04
4. Ferrum 05:16
5. Aes 06:25
6. Argentum 05:48
7. Argentum Vivum 06:26
8. Aurum 05:16
9. Albedo 06:27
51:17

Released on: November 19, 2013

LabelEpidemie Records (http://www.epidemie.cz/en/)

Lineup:

Ivano Mandola Drums
Niccolò Tricarico Bass, Bouzouki
Sara Del Regno Synthesizers
Serena Mastracco Vocals (screams)
Elisabetta Marchetti Vocals (clean)

Guest/Session:

Pierluigi Ferro Saxophone

Homepage: http://ritiocculti.altervista.org/

Facebook: https://www.facebook.com/RitiOcculti

Chiral: Abisso: 50%

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There is a wide landscape dominated by single people who create music by their own and it definitely belongs to black metal. For instance, Chiral is a project of this kind, coming from Italy. The music is described as progressive black metal and actually, it can be regarded like that, considering the various influences included there. The latest release of Chiral is the Abisso EP, basically the second material after a first demo released this year as well.

The EP starts with a windy intro, thunders and rain sounds and continues with „epic” keyboards. Then you can hear that so-called melancholic and atmospheric part and then that so-called nostalgic black metal riff and then some nasty doom death vocals and I honestly had enough of this during my lifetime. But let’s have faith for the second song, Atto I: Oblio and its nice raw black metal approach. Unfortunately the sound is awful especially because of those programmed drums. Otherwise, the guitar tone is quite bad even though the riff from the beginning is classic and good. The song comes with some acoustic breaks and this way of combining opposite dimensions gives power to the music, but I cannot say good things about the final part of the song that brings a non-musical chaos. At least the vocals became tolerably harsh. The piano from the following track is okay, but still I cannot find the purpose of the solo guitar that comes next. Anyways, things would have been great if only the drums have not started. But they did it again and after I forced myself to ignore their sound I could discover the best song of this material. It was the first time when I could notice the influences mentioned in the project’s description, like something from Dissection or Sacramentum, especially in the second half of the track. The final part of the record is a short and nice piano outro that uses again the windy sound in order to complete the circle in a classical manner.

CHIRAL - Abisso cover art 425w

Improvements are for sure needed when it comes to Chiral’s music, both in songwriting and musical production. People these days are making haste to release a record and that’s why they forget how to reach the essence of music and so they focus on creating a copy-cat material or music in general that brings a wide range of transiently influences. The musical market is very crowded, to put it like that, even if it’s all about metal music. I hope one day some musicians will be aware of that in order to make any kind of difference.

Release date: June 21st, 2014

Label: self released

Tracklist:

1. Atto I: Disceso Nel Buio 04:04
2. Atto I: Oblio 05:20
3. Atto II: Abisso 11:42
4. Atto II: In Assenza 01:11
22:17

Lineup:

Chiral Voice, All Instruments, Programming
Ludovico Cuoghi Guest on Atto II: Abisso, guitar solo

 

Homepage: http://chiralitaly.wix.com/chiral

Facebok: https://www.facebook.com/ChiralItaly

Bandcamp: https://chiral27.bandcamp.com/

 

By: Gina Sandulescu