Darius - Clôture

#PER CHI AMA: Post Metal strumentale, Bossk, Pelican

Torna la Czar of Crickets Productions con un'uscita nuova di zecca, come sempre "made in Switzerland". I Darius, che già abbiamo avuto modo di conoscere col loro debut album 'Grain', tornano con un EP di quattro pezzi devoti ad uno strumentale mix tra sonorità in bilico tra post metal e post rock. "Glaucal" ha l'onere di aprire le danze, con la sua flebile intro che assai presto farà posto alla robustezza delle chitarra del duo formato da Yannick e Sylvain, e poi ad una serie di cambi ambientali. È un po' come se passassimo da una stanza estremamente illuminata ad una con delle luci decisamente più soffuse e allo stesso modo, i cinque ragazzi di Bulle, passano da momenti più pesanti ad altri più delicati, con un risultato anche alquanto soddisfacente, peccato solo che manchi una componente vocale ad alleggerire una proposta forse un po' troppo monolitica sin dall'inizio. Si perché poi le cose, non cambiano granché con "Charlotte" e le seguenti "Pipistolet" e "Trace": si confermano delle introduzioni ai brani a base di chitarre acustiche e suoni da penombra, a cui si susseguono riffoni pachidermici e leggiadri momenti di quiete. In "Charlotte" ad esempio, il preambolo che porta al dirompente lavoro ritmico, si dilata in accordi sognanti un po' ripetitivi, che soddisfano, ma non so fino a che punto, l'ascoltatore. Questo perché, pur essendo le melodie buone, la produzione bombastica e le escursioni in territori ambient azzeccatissimi, il lavoro suona nelle mie orecchie come incompiuto, manca sempre quel qualcosa in grado di guidarmi nell'ascolto, nel trascinarmi in slanci emotivi, come solo una voce sa fare. Scusate se insisto, avete tutto il diritto di dirmi che ci sono band che hanno basato il loro successo solo ed esclusivamente sui loro suoni anziché su di una voce, ma io posso anche rispondervi che forse quelli sono dei fenomeni, mentre ai Darius manca ancora quel quid che mi induca a considerarli tali e quel qualcosa nella loro musica capace di condurmi piacevolmente in un porto sicuro. La band, seguendo le orme dei Pelican, dei Bossk o dei Russian Circle, alla fine risulta troppo aggressiva per i miei gusti per proporre un simile sound senza l'apporto di un vocalist, anche se l'ultima "Trace" sciorina diversi minuti di sonorità eteree prima di decollare. Per quanto strumentalmente bravi, i Darius hanno larghissimi margini di crescita, che io sfrutterei nel migliore dei modi, per staccarmi da una scena che vedo in inesorabile declino. (Francesco Scarci)

(Czar of Crickets - 2018)

Voto: 65

https://www.facebook.com/dariusband?ref=ts&fref=ts

Talv - Entering a Timeless Winter

#FOR FANS OF: Depressive Black, Burzum

Talv is an Italian one-man project created back in 2012. Andrea is the sole musician behind this band coming from Milano. The project was previously created with a different name, Trees in the Fog, but he rapidly decided to change it for a much shorter name. Andrea´s purpose was to play black metal with a raw and discordant touch, but keepin always with an atmospheric approach. I am not very familiar with his previous stuff, but there is no doubt that dissonance played a main role on his early works. The vocals, for example, were recorded with several strange effects, though aesthetically they had a clear approach to what we usually can find in several DSBM bands.

Anyway, this third album starts a new era for Talv according to what Andrea says. Has Talv changed that much? Only in some aspects. The album itself is not aesthetically so different in comparison to the previous releases, the songs have again a mainly slow and repetitive tempo and they are quite long. “Dreaming a Funeral in Another Life” is the album opener and it lasts almost ten minutes. Its slow and repetitive tempo is something you will find in the whole album, and its purpose is clearly to create a hypnotic atmosphere. The other three tracks strictly follow the same pattern and the only difference can be found in the fifth song, a cover from the amazing German band Coldworld. This is a purely ambient track which serves as a nice and calm ending for the album. 

The main difference which makes 'Entering a Timeless Winter' a different beast from Talv´s previous efforts, is the production. This new work has a quite much lowered sound, with a quite raw yet atmospheric production. I would say that is the classic low-fi production we can find on bands which play DSBM with an intense atmospheric touch. I am not a great fan of this production, but I must admit that I prefer it over the more dissonant and noisy sound of the previous cds. The vocals sound indeed quite different as this production makes them sound less chaotic, and a little bit more buried in the production, anyway they can easily be listened to. His screams follow the typical pattern, tortured and repetitive screams which fit with the rest of the music. 

In conclusion, my impression is that Talv has left behind his more dissonant and discordant influences, at least if we talk about the production itself, and has immersed in a more traditional and low-fi atmospheric/depressive black metal, obviously influenced, in its repetitive and slow tempo, by Burzum. It’s not by any means an outstanding record but I personally consider it a step forward in the correct direction. Even though a little bit of variety would be more than welcome. Personally, I would strongly recommend a more dynamic instrumentation to make the music more interesting. Anyway, 'Entering a Timeless Winter' can be enjoyed if you dig this style and have the appropriate mood to immerse yourself in this anthem of endless despair. (Alain González Artola)

(ATMF - 2017)

Score: 55

https://atmfsssdtp.bandcamp.com/album/entering-a-timeless-winter

Arallu - Six

#FOR FANS OF: Black/Thrash, Melechesh

Hailing from the urban settlement called Ma'aleAdummim in Israel, Arallu is a five-piece devoted to black/death metal that has been around the metal underground for twenty years. The band got the name Arallu from the Mesopotamian mythology, as it was the name of the underworld kingdom ruled by the goddess Ereshkigal and the god Nergal, where the dead are judged. Arallu's music revolves around the traditional ancient Middle Eastern melodies of fellow countrymen Melechesh, with the high-speed savagery of bands like Angelcorpse and Blasphemic Cruelty, and the atmospheric feel of legendary acts like Immolation and Incantation.

Last 2015 the band released a record called 'Geniewar', and that opus had solidified Arallu's already known talent to the underground extreme metal community. 'Six' is the band's sixth full-length studio album and overall their ninth material released. This release offers the listeners a very stunning infusion of occult black metal with the ancient Sumerian and Middle Eastern sound. The riffs found here will satisfy the listeners with its frenzy melodic tremolo picking that is intertwined with some eerie folk instrumentation. These elements in the guitar section, thrown in with a few folk instruments such as a saz and a darbuka, reveals how the band had successfully stripped metal down to its core adding a personal touch of their own special flair.

But that's not just what the guitars offer here as a labyrinth of aggressive and tormenting crisp guitar riffs also accompanies the songs in this offering. The evident and audible bass line gives a really pleasant mattress for the guitars as it supports them and it provides that extra punch and low-end heaviness to the overall outcome of Arallu's music. It basically lies steadily beneath the guitars as it backs them up with some thick lines that give a more deep feel to the strings and dispenses an ominous atmosphere to the tracks. The drum section also catches the audience's attention with a variety of destructive pummeling double bass blasting to some Middle Eastern tribal drumming that helps a lot in terms of keeping the atmosphere intact.

On the vocal department, the record is filled with some hale and hearty high-pitched piercing shrieks and screams which create a dark and raw soundscape. These vicious shrieks are sometimes jacked up with some uncanny backing vocals that tie together the brutality of extreme death and black metal music to the ancient Middle Eastern scales of the material. 'Six' also parades the band's strongest production to date in their twenty years of existence. Each track in this opus sounds more well-rounded and very lucid than their previous releases, but at the same time, they sound harsh and aggressive that it utterly satisfy the fans' desire to find a memorable black/death metal album.

Overall, although 'Six' may be a typical album from an extreme metal band coming out from Israel, its music takes a different direction on its’ way to epoch-making symmetry. Arallu had created a menacing and atmospheric beast in this style of metal with their release of this varmint offering. These Israelis had put out a savage album that is hardly comparable to its predecessors. If you fellas haven't gotten a copy of this record yet, then you better go and get yours now. (Felix Sale)

 

(Transcending Obscurity Records - 2017)
Score: 75

https://arallu.bandcamp.com/album/six-folk-black-thrash-metal

Drug Honkey - Cloak of Skies

#FOR FANS OF: Psychedelic Death/Doom

Every evening cars pull up and park in front of my house, yet no one is here to visit. Instead, as the average societal drone prepares for a relaxing night, the twilight shift begins for the human excrement with which I have the misfortune of sharing a fence. Itchy, sniffling, pale-faced denizens of the darkest corners of this town descend upon a hapless sleepy street searching for their choice chemicals. Once in a while, in a fit of desperation through intense withdrawal, the neighbor's yard is invaded with screaming and the sounds of windows being pounded all around the property. This is but a taste of my front row seat to a reality that this band reflects as Drug Honkey directs its delirium through distortion, capturing the dragon and watching it decay in a pit of its own delusion.

'Cloak of Skies' aims to tackle the slow, undesirable, and unending delirium of falling into a drug addled demise. Where Black Sabbath overdosed on heroin in “Hand of Doom”, Drug Honkey has found an even more potent opiate concoction to nod off on. Laced with fentanyl, the band slings junk that is best left to an intimate album setting because “Pool of Failure” would make for a boring live show. Still, many may want to get their fix from the source, and “Outlet of Hatred” visits that skeevy squalid slum, like spending a night in a roach motel bordering an industrial park. Train horns blow by in frequent intervals, the interminable pounding of a headboard against a shared wall keeps generic paintings applauding the local prostitution economy, and the stench of pickup truck exhaust invades the gaps and cracks of the curtained window, intermixing with old cigarette smoke to remind you just how thin a building can be built while remaining within the engineering specifications of the municipality. The only stability one may have throughout Drug Honkey's journey is a knowledge that the possibilities are endless when it comes to scrounging up the cash for a fresh fix. Evenings are spent dining on mouthfuls of dick and ransacking humble homes to hock other peoples' possessions for far lower than an appreciable resale value. Yet with every fresh syringe of vein-pumping toxicity, “The Oblivion of an Opiate Nod” falls farther away as death creeps closer.

'Cloak of Skies' is a journey into damnation by way of self-destruction. The album is slow and dingy with growling vocals, psychedelic moments, and loud gravely guitar rhythms while leads scream in and out of each song in a kaleidoscope of synapses showering in endorphins. There is such a large swath of atmosphere and so much open delirious space that this band would probably not work well in a live setting, but on a recording comes across as addled and hopeless as hitting rock bottom, curled in a corner of a strange basement, and fading away into nothingness. So tie one off and join the epidemic, but don't expect to come back from this binge because Drug Honkey promises no NARCAN. (Five_Nails)

(Transcending Obscurity Records - 2017)
Score: 80

https://drughonkey.bandcamp.com/album/cloak-of-skies-atmospheric-death-doom-metal

Aura Hiemis - Silentium Manium

#PER CHI AMA: Funeral Doom

Ecco arrivare dal Cile l'ennesima one-man-band, capitanata da V., factotum di questi Aura Hiemis, in giro addirittura dal 2004 ma che per il sottoscritto rappresentano invece una novità, il che è strano considerato che all'attivo hanno ben quattro dischi, uno split ed un EP. Cercheremo di rifarci con l'ascolto di questo 'Silentium Manium', lavoro uscito a dicembre 2017 sotto l'egida della prolifica Endless Winter, ormai diventata sinonimo di funeral-death-doom. E Mr. V. (che ha peraltro un passato nei Mar de Grises che conosco invece assai bene), qui supportato da Lord Mashit, non tradisce le attese, forte di un lavoro dedito ad un inquietante e malinconico sound che con i dieci pezzi di questa release, riesce a trasmettere tutto il proprio pathos e dolore interiore, attraverso passaggi musicali lastricati di un profondo senso di pesantezza e disagio. Lo dimostrano i fatti: subito dopo l'intro strumentale di "Maeror Demens I" che insieme alle parti II, III, IV e V costituirà degli acustici bridge tra un pezzo e l'altro, sopraggiunge "Cadaver Fessum", esempio indefesso del monolitico sound proposto dai due musicisti di Santiago. Suoni a rallentatore, con riffoni inferti ogni cinque secondi e dilatati all'infinito, tastiere da incubo e vocalizzi da orco cattivo, raffigurano e certificano la proposta degli Aura Hiemis. Nulla è comunque lasciato al caso: il suono bombastico, gli arrangiamenti, l'ampio spazio affidato alla componente strumentale che dà enfasi alla drammaticità e al climax che s'instaura nel corso dell'ascolto di 'Silentium Manium'. Mi stupisce comunque l'originale approccio della band nel proporre la propria visione di doom: un esempio concreto è offerto da "Sub Luce Maligna", breve, quasi completamente acustica, sembra strizzare l'occhiolino ai primi Swallow the Sun. Analogamente fa "Between Silence Seas", e a questo punto deduco che sia il vero marchio di fabbrica degli Aura Hiemis per prendere le distanze dalla massa, che affida dei suoi quattro minuti spaccati di musica, la metà a suoni acustici e i rimanenti due alle sole chitarre, escludendo del tutto la componente vocale. Ma la cosa si ripete anche nella successiva "Frozen Memories", il che mi lascia ancora una volta perplesso perchè alla fine, "Cadaver Fessum" e la tremebonda ma atmosferica "Danse Macabre", sono gli unici episodi funeral doom del disco, in quanto il resto è un nostalgico flusso di suoni minimalisti, acustici e nostalgici. Ah, ultima segnalazione: il disco contiene dieci tracce, ma il lettore ne visualizza 11, questo perchè c'è la classica ghost track (quanto adoro ancora questi giochetti) che mostra un abito ancor diverso per i nostri, che partono da una ritmica quasi post black per poi affidarsi ad un suono più pulito e diretto che va a braccetto con l'utilizzo delle vocals, qui meno catacombali. Che stiano volgendo lo sguardo verso altri lidi? Lo scopriremo rimanendo sintonizzati sul canale degli Aura Hiemis. (Francesco Scarci)

(Endless Winter - 2017)
Voto: 75

https://aurahiemis.bandcamp.com/album/silentium-manium

Omza - Otto Maddox Zen Academy

#PER CHI AMA: Hard Rock/Post Grunge

Gli OMZA sono in cinque e sono di Trieste, una band giovane, matura e con un sound che convince e ammaglia sin dai primi minuti di rotazione del loro nuovo album 'Otto Maddox Zen Academy'. Ma andiamo con ordine. La band bazzica l'underground da qualche tempo anche se con nomi diversi e quest'album non fa che raccogliere i brani scritti finora e pubblicati da Brigante Records e Vollmer Industries. Il digipack è del tipo extra lusso, due ante in cartonato super pesante ed un booklet a ben sedici pagine con un artwork pulito e moderno dai toni scuri e netti. Le tracce sono nove e sono un vero e proprio excursus musicale tra rock, punk e pop, fusi tra loro in maniera convincente e dirompente. In "Birds", la opening track ha l'appeal prettamente rock venato di suoni british, dove i riff di chitarra fanno da spina dorsale alla traccia, ed insieme all'ottimo lavoro di batteria di basso, regalano un groove potente e filante. Accelerazioni, break, assoli e quant'altro in poco più di tre minuti e mezzo, in una canzone che racchiude gli OMZA e ne fa da manifesto musicale. "Motivational #1" è meno ammiccante, i toni si tingono di scuro e i pattern si fanno apprezzare per la loro dinamicità. Il vocalist ha un ruolo determinante come in tutti i brani, grazie alla sua timbrica sospesa tra Pierpaolo Capovilla ed Ozzy, che s'incastra perfettamente nel sound dei nostri e li rende riconoscibili dopo pochi secondi. Ottima anche la pronuncia, fondamentale se si vuole avere un appeal internazionale come quello cercato dalla band triestina. I testi invece non si spingono mai oltre al pop, peccato perchè avrebbero dato maggior spessore ad una produzione già di per sé molto buona. L'energià prorompente della band continua in "Time Machine", altro brano profondamente british rock che ricorda i vecchi Radiohead, ma meno sperimentali. Si fa apprezzare il break che rallenta e incupisce il pezzo che non vuole essere che una bella ballata spensierata, con bei riff di chitarra e arrangiamenti puliti. L'album chiude con un tributo al Duca Bianco e lo fa rivisitando un classico come "Moonage Daydream": il pezzo è sicuramente piacevole grazie ai suoni che dopo quarant'anni hanno fatto passi da gigante, ma si sente la mancanza di un tocco di glitter, quel qualcosa che ti fa scattare la scimmia e ti dice che il confronto con l'originale è stato superato con successo. Gli OMZA sono una band che lavora bene sui pezzi e produce bella musica, mettendoci pathos e sudore della fronte. Alla fine 'Otto Maddox Zen Academy' è sicuramente un buon album che andrebbe ascoltato dal vivo per poter meglio apprezzare quella chimica che dovrebbe crearsi tra band e pubblico, quella che non passa attraverso le cuffie o gli speakers. (Michele Montanari)

(Brigante Records/Vollmer Industries - 2017)
Voto: 75

https://omza.bandcamp.com/album/otto-maddox-zen-academy

Shattered Sigh - Distances

#PER CHI AMA: Death/Doom, primissimi Anathema

Dall'assolata Barcellona non poteva che giungere un album di solare... death doom. Si ringraziano pertanto i gentilissimi Shattered Sigh, qui al debutto, per regalarci il loro spaccato di suoni deprimenti provenienti dalla Catalogna. Sei tracce rilasciate per l'etichetta russa Endless Winter che per questo genere di sonorità, ha ormai affiancato la più che navigata Solitude Productions. Il disco si apre con le plumbee atmosfere di "Under Your Slavery" e le sue tastiere celestiali che, accanto ad un riffing corposo e pesantino e delle vocals catacombali, costituiscono l'architettura sonora degli Shattered Sigh. Per fortuna che si affiancano anche delle clean vocals che con una massiccia dose di keys, stemperano un animo che talvolta sembra propendere verso tendenze funeral. Le melodie sono comunque buone, seppur elementari e talvolta ridondanti, ma le qualità ci sono tutte e i margini di miglioramento direi notevoli. Per i nostalgici di 'Serenades' dei primissimi Anathema, date pure un ascolto a "Timeless", avrete da che versare lacrime nel ricordare quei vecchi tempi di decadenza ormai finiti nel dimenticatoio di molti, ma non del sottoscritto. E forse anche il sestetto catalano deve ricordare bene la lezione dei fratelli Cavanagh, visto che tra lugubri e funeree ambientazioni, votate ad un catartico sound di dolore e disperazione ("1214"), pezzi più "ariosi" e movimentati (leggasi l'omonima track "Shattered Sigh") o tracce dall'andamento più ritmato ("Alone"), alla fine gli Shattered Sigh sembrano proporre una rilettura piuttosto interessante degli Anathema di quei primi mitici anni '90. A chiudere ci pensa la drammatica "Thou Say Goodbye", song che rafforza il valore di questa release e che consente ai sei musicisti barcelonins di dire la loro nell'affollato mondo del death doom melodico. (Francesco Scarci)

(Endless Winter - 2017)
Voto: 75

https://endlesswinterdoom.bandcamp.com/album/distances

Forgotten Woods - The Curse of Mankind

BACK IN TIME:

#FOR FANS OF: Atmospheric Black Metal, Burzum

I discovered this album ten years ago and it was already twelve years old at the time, twenty-two years after its original release and it is still one of the greatest works in black metal history. Along with a few bands such as Burzum, Forgotten Woods was the pioneer of the now called “depressive/suicidal black metal”, but if you listen to this mastodon record, you’ll find barely a gleam of that genre, the most notable being Thomas Torkelsen vocals, but 'The Curse of Mankind' is aggressive, heavy, ever-changing, challenging, epic and captivating.

A black metal masterpiece far away from the DSBM dull records, since it is not focused on those topics proper of this - at the time - unknown genre, 'The Curse of Mankind' is more melancholic, artistic and progressive. Every aspect of this record seems to be there for a specific reason, you can feel that the musicians were comfortable with each other, that the ideas flowed between them naturally. And even when the production was low-fi, you can listen and appreciate every instrument, even the bass line is perfectly listenable, the addition of acoustic guitars mixed with the raw distortion of the electric ones, make a perfect “forest-ish” ambiance. I feel that in this new edition where they improved the mastering a little, and the vocals, at least to me, sound better.

I don’t like labeling Forgotten Woods music as depressive black metal, because as you listen to their catalog, you realize their sound was violent, full of strength and passion, nevertheless they also expressed their sorrows through that music, with beautiful melodies and complex passages, so I have always said, Forgotten Woods plays melancholic black metal, a genre that obviously is non-existent, but I could name bands in the same vein being these ones: Dawn, Peste Noire, Drudkh, In the Woods… (first record), Miserere Luminis, Nagelfar (Germany), Angmar (France), Baptism (Finland), Vinterland and more; all of them share those aspects of aggressiveness, complex compositions, epic long hymns and sadness, but never falling into the depressive/suicidal department. Their music is, as I said, melancholic. Take 'La Sanie des siècles - Panégyrique de la Dégénérescence' the first album by Peste Noire, it is raw, brutal, enigmatic and ruthless and even so there is beauty in the music, acoustic guitars, calm parts, moments of sadness and mourning, just followed by terrific guitar riffs that make you shake your head and start head-banging. And I could say the same of every other band mentioned before.

“Overmotets Pris” is a perfect example of the melancholic black metal genre I was talking about; it starts with a blast beat along with some trve black metal tremolo, after a few compasses it’s followed by a change of pace to let the grim vocals howl your ears, and that’s enough to create ambient, the next you know is they got back to the first tremolo for speed, after that you feel a very dark atmosphere emerging, but out of nowhere the rhythm change again, a beautiful arpeggio in acoustic guitar escorts the electric guitars in a slower tempo, clean spoken vocals hit you like a thunder, a new change, an enjoyable black metal/punk drumming follows, and your head is dancing to the music rhythm; we are only 3 minutes inside an almost 13 minutes length song, and it keeps growing, it keeps amazing you, there is no repetitiveness, no dull song writing, no boring structures in the music, is unpredictable, it is overwhelming. Not even a single second is wasted. There is beauty in darkness.

And the ending… God damn it! That ending! Near the minute nine of the song, you are already familiar with their music, they use that beautiful acoustic arpeggio from the beginning again and you are expecting the end as if an orgasm, as if it enough, but it is never enough for this geniuses, a black metal riff of war, full of power destroys the calm and it gives the song a new path, and it is not over yet, we get a new riff, the drummer is playing as if there is no structure in the music, then blast beats, all the strings creating a harmonic chaos, the vocals calling you from the abyss - silence - a bass line, here we go again with a malevolent riff, and before you know it, the song is over.

To me the only thing DSBM bands learned from Forgotten Woods was the vocal style, I’d like to know a depressive black metal band with such rich songs and complex music. Back then to my time a listened to a lot of DSBM, I know that scene, and there are great bands like Nyktalgia, Gris, Mourning Dawn, Penseés Nocturnes, Hinsidig just to name some of them, but check them in the encyclopaedia or their own pages and they play black metal, melancholic black metal if you ask me. Bands like Happy Days, Make a Change... Kill Yourself or Trist make slow, simple, long tedious songs, even Nocturnal Depression plays black metal! The only two true depressive bands I know capable or greatness are Silencer and Eiserne Dunkelheyt but they are long dead, I could mention Thy Light but they have only one song that is a monument to the genre. Anyway, I can’t see any other aspect DSBM bands took from this particular record to make it its flag as the pioneer of that music style.

One thing you need to know about 'The Curse of Mankind' is that it has a very particular song. “With Swans, I’ll Share My Thirst” is an unexpected piece of music in a black metal album. It is an instrumental song, after a lot of thinking I couldn’t decide on a genre, but it is just beautiful, you could say is classical rock, post-rock (ahead of its time) or even a folk/post-rock/avantgarde song, sounds crazy I know, but musically it is a piece of art, it starts sad and sullen, relaxing almost, but at the end is full of joy and grace, a mouth-organ (or harmonic) is the protagonist of the last part of the song. The first time I listened to it as a fifteen years old who wanted to be trve, I thought it was the weirdest thing it ever happened to an extreme metal album, he even thought it was a mistake, nevertheless he knew it was pure art, he knew it then and he knows it now. One of my lifetime favorite songs.

To close this masterpiece, we get the malevolent “The Velvet Room”, a song with a strong, evil leading guitar riff that takes you to hell, but enough catchy to enjoy and headbang to it. The drums in this song are superb, kind of a jazz effort; I challenge you to predict them even after listening to the song several times. A true masterwork.

In conclusion, 'The Curse Of Mankind' is a must listen not only for black metal enthusiast, but for extreme metal fans in general, as it has everything a metal album must have, great guitar riffs, long songs, terrific vocal efforts, a cohesive collection of tracks, challenging paces and rhythms and some kind of magic it'll make you say it is a classic. (Alejandro Morgoth Valenzuela)

(ATMF - 1996/2018)
Score: 90

https://atmfsssdtp.bandcamp.com/album/the-curse-of-mankind