Lato - Karisma

#PER CHI AMA: Indie Psych Rock

Onde d’acqua circostanziale. È "Soul of Blood". Un suono che si trasforma in concentrici cerchi vitali. Ed è improvviso quanto imperante l’incipit dell’album, con quel graffio di elettricità strumentale a breve trasformata in una risacca cantata. Se amate l’acqua pura e i suoi abissi incantati, addentratevi in questo mare apparentemente calmo. Questa prima song dei milanesi Lato parte con la sinuosità dell’acqua che preda sia l’ascolto che l’empatia distorsionale del cantato. Muoviamoci poi verso "Certainty and Disenchantment", secondo pezzo incluso in questo 'Karisma' (che dovrebbe essere anche il secondo disco per la band italica). Stride l’esordio del brano. Picchia forte. Graffia gole arse. E poi inizia quel cantato che scalda improvvisamente. Direi una versione futurista di Jonny Cash, ma senza le tipiche inflessioni country. Il pop si mescola in una disillusione dell’attesa. Funziona bene. Anzi molto bene. E mi ritrovo trepidante. La terza traccia sarà diffratta dalle precedenti? A voi "Millions of Us", che non risparmia l’usura delle corde metalliche in un riff piuttosto accattivante, reiterato, ricco di mordente. Il fondo del brano è sempre mosso, come sballato sistematicamente da sonorità etnico percussionali, morbide. Entra il pop della voce, ma anche quello che credo sia uno stralunato sax. Non posso fare a meno di sentire rimembranze anni '90. Per una attimo sono tornata agli U2 e alla loro "Achtung Baby", ma ne siamo comunque lontani. Approvato il presente nel passato. Ma veniamo al momento oscuro del disco con "Stars Spangling". Un treno d’altri tempi sbuffa ritmicamente. E poi arriva alla stazione dolcemente. Il brano dondola in una bolla di zucchero. La voce accarezza lasciando piccole ferite tra pelle e anima. Il ritornello vorrebbe spaziare, ma accompagna. In quattro parole. Una song piacevolmente sospirante. Spezziamo la malinconica dolcezza con "Triangular". Si, perché questa song è distratta, ipnotica, e dal taglio alternativo. Posso farvela immaginare come una danza sinuosa, a tratti spinta, ma mossa da abbandono e utopia. Una traccia per dimenticarsi di se stessi, ascoltandola e riascoltandola. Elettronica, strusciante, digitale. Parte la robotica "Hole in My Head". Solo il cantato ci fa aggrappare alla realtà, mentre la base ritmica potrebbe collegarci a un gioco della Playstation. Ascoltiamo poi la robusta "Diamonds". Torna un indie pop, spaccato a metà strada tra gli Oasis e quel post punk da pub underground londinese, ove ballare e isolarsi dalla realtà, e null'altro. Arriviamo al penultimo pezzo con "Deep". La traccia parte da lontano con una lunga e tiepida carezza, e prosegue in pallide nuvole senza pioggia. È cupa, eppure non porta pioggia. È vento, eppure le foglie sono immobili. È malinconicamente emozionante eppure invisibile in un sospiro in cui la si può solo sentire, ma non vedere. Un climax emozionale in cui è la voce a guidarci nel buio. Chiudiamo l’ascolto di 'Karisma' con "Dancing with Decadence". Armonica e la voce suadente del frontman. Nostalgia e consapevolezza. Stile e coraggio. Avvolgente e caratterizzante questo album. Un incontro di suoni e voci che spezzano, accarezzano, avvolgono, sfiorano, giocano con noi. (Silvia Comencini)

(Self - 2024)
Voto: 78

https://latosounds.bandcamp.com/album/karisma-2

Deceased - Ghostly White

http://www.secret-face.com/

#FOR FANS OF: Death/Thrash

The last album with Dave "Scarface" Castillo, who drowned in El Salvador in 2018. It's too bad, this band has been in great progression with each upcoming release. I just happened to get a copy of this CD and 'Surreal Overdose.' This one isn't extreme death metal, it's milder with great riffs. The vocals are powerful and the production quality was solid. I think highly of this release! I feel like they have some riffs that are unique and exceptionally original. The vocals on here are hoarse and have a low-end growl to them. The music is non-duplicated by any of their others. They pretty sound different with each succeeding platter. The voice goes pretty well with the music.

The thing about the music is that they have tempos slow, medium, and up-to-fast shred. The leads were well done, and I feel like they really put their heart and soul into this recording. The music and vocals are what stole it for me. That's the reason for the "75" rating.

I only own two releases by this band, 'Ghostly White' and their previous 'Surreal Overdose.' I like both, but the former more so because I feel that the music is better on here than their predecessor. It's filled with catchiness and thickness in the riff category. I originally didn't think very highly of these albums, but my outlook has changed after multiple hearings. The vocals just go along-side the musical kingdom of originality in the sounds. Too bad about their drummer. And I'm curious to hear their latest release out this year, entitled 'Children of the Morgue.' This new one might even be better than this one, I'm not sure yet. We'll have to play the waiting game.

Five members in this band, one gone, but it doesn't take away from the magic of this release. I think that the music and vocals are what caught my attention the most. These guys have been going strong for years making quality death/thrash/heavy metal. Quite a mix of genres!

I like how they were able to piece things together in these genres, which is why they caught me a little by surprise. The music (being a guitar player myself) was the highlight to me. But they were able to lump those genres together, making it a win-win situation and never boring.

I like this band a lot and am going to be a long time fan because they were able to make their music unique and listenable. The vocals, the riffs, the leads, and the drums all were exquisitely composed. These guys are hopefully going to be around for many more years! If you don't believe me, just take a listen yourself and see what I'm talking about! (Death8699)

(Hells Headbangers Records - 2018)
Score: 75

https://the-true-deceased.bandcamp.com/album/ghostly-white

Lilla Veneda - Primordial Movements

#PER CHI AMA: Black/Death

Li avevamo conosciuti in occasione del loro secondo album omonimo. Ora, i polacchi Lilla Veneda tornano a distanza di sei anni da quel lavoro, con questo nuovo autoprodotto 'Primordial Movements', incentrato sul dibattito tra scienza, arte e filosofia. La proposta musicale del trio di Wrocław continua a percorrere la strada del black/death, arricchita però da una certa verve grooveggiante che rende il disco di più facile assimilazione. Questo è testimoniato fin da subito, dall'opener "Fury Dimension", che ci scarica addosso una sassaiola di riff, smorzata in realtà, da una ritmica sincopata che mi ha evocato i Septicflesh di 'Communion'. Interessanti non c'è che dire, sebbene un genere verosimilmente iper-inflazionato come potrebbe essere quello proposto dai nostri. Tuttavia, durante l'ascolto delle nove tracce qui incluse, non si correrà certo il rischio di annoiarsi o peggio, appisolarsi, visto che l'act polacco, ci terrà costantemente sulla corda con un sound intenso, a tratti debordante, ma comunque sempre caratterizzato da break all'insegna del groove, come certificato anche in più parti, dalla seconda "Sleeping Knight's Sky", che alterna bordate blast-beat con rallentamenti più atmosferici o melodici. Non mi dispiacciono affatto i Lilla Veneda, nonostante alla fine mi ritrovi di fronte alla classica scoperta dell'acqua calda. Ma alla band non frega assolutamente un piffero delle opinioni altrui e proseguono a macinare riff tonanti e iper-tecnici ("Biomechanic Algorithm"), con l'eclettica prova vocale (tra growl e scream) di Virian (che abbiamo incontrato anche nei Voidfire) a prendersi la scena, mentre l'incedere qui sembra valicare anche i limiti del post black, sfociando poi in una parte acustica da applausi, prima di un finale esplosivo. E allora mi sembra di scorgere una certa voglia di osare, ben venga quindi. Anche laddove la band prova a imbastire ritmiche dapprima più compassate ("Iron-Black Pestilence") per poi evolvere in parti più forzate, isteriche e per concludere, con frammenti quasi avanguardistici, segno che alla band non piace giacere sugli allori ma in realtà, sembrano amare le sperimentazioni, per quanto siano ancora a livelli basici. Ma il margine di manovra c'è e sembrerebbe pure ampio, per permettere in futuro di sentirne delle belle. Anche perchè, proseguendo nell'ascolto di 'Primordial Movements', ci sarà modo di scorgere le robuste e martellanti melodie di "Scratched Crown", la magniloquente potenza di "Colossi" che mostra qualche punto di contatto con i nostrani Fleshgod Apocalypse, o ancora la ruvidezza scandinava di "Immortal Vision of Chaos", che si muove tra thrash e death metal, e che riserverà anche qualche sorpresa a livello vocale. Insomma, avrete capito che i Lilla Veneda vanno presi seriamente, anche quando nella title track si abbandonano a suoni decisamente più sperimentali (quasi industriali), sulla scia dei francesi CROWN. E non posso che applaudire per il coraggio che a inizio del mio percorso d'ascolto, non avevo minimamente intuito. In chiusura, l'ultima chicca, "Pytasz Co W Moim Życiu", un brano mid tempo tra atmosfere dark, melodie soffuse e voci spettrali, che la rendono il degno epilogo a un disco che rischiava anzi tempo, di essere bollato come bollito. Bravi. (Francesco Scarci)

(Self - 2024)
Voto: 75

https://lillaveneda.bandcamp.com/album/primordial-movements 

Funebris - Triumph of the Everlasting Fire

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Black/Death

Ancora Germania, questa volta per recensire i Funebris. Giunti all'esordio dopo un paio di demo e un 7", usciti tutti nell'arco di tre anni. I demo promettevano bene, ma poi la strada scelta è stata un'altra. Hanno cambiato il loro stile degli esordi avvicinandosi molto di più a qualcosa di simile agli Immortal. Io non li etichetterei tuttavia come band black metal, pur rimanendo ai limiti del genere. Con questo 'Triumph of the Everlasting Fire', le venature death metal sono diventate infatti molto più marcate; convincenti però fino a un certo punto. Presentati come band black metal, ascoltando il cd fino in fondo vi accorgerete anche voi che il black è rimasto sui demotape della band, che ora suona tutt' altra cosa. Il che non vuol dire che questo cd sia brutto anzi, permette di ascoltare una band con buone idee, visto che le nove tracce sono un bombardamento continuo, con un muro di chitarre che fuoriesce dalle casse dello stereo e finirà per schiacciarvi a terra... però ecco, mi aspettavo altro, che non è mai più arrivato, visto lo scioglimento dei bavaresi nel 2002.

(Last Episode - 2001)
Voto: 65

https://www.metal-archives.com/bands/Funebris

Everdying - Dimensions of Mortal Frailty

http://www.secret-face.com/

#FOR FANS OF: Death/Black

What a killer release by Johnny Dove's one-man-band, featuring some guest musicians as well! This album is balls out intensity fury with the screaming vocals that transition to death metal bellows. This LP I ended up getting because I checked it out first, and it definitely was appealing. Not too many releases in their discography... but the albums that have been released seemed to make par. I think the guitars are a bit complex, distortion everywhere, though some clean guitar was featured briefly on a few tracks. Hard to play favorites song-wise, I thought what a valiant effort coming out of Johnny's intricate influences that reflect his melodic death/black metal genres from Chicago!

This whole album was interesting, what's come out sounding like such aggression with that key In Flames sort of power from say 'The Jester Race' and weaved into his own making. I like the vocal trade-offs on songs. Definitely makes it a more killer output.

The mixing was decent even though it was an independent label. For the first few listens, it was muddy to me until I listened more closely to everything this computer was able to play, even though it was Spotify that I played it on and CD that I purchased on Johnny's bandcamp page.

I like how there are some tracks which reflect that absolute distinction from melodic death to black metal. I don't have the lyrics, so I've not connected to this album on that level, just the overall vibe from it. This guy spent a lot of time constructing, a lot of what he brought to the plate on here. It's taken a lot of time to get this follow-up from their previous release, 'Within the Recesses.' More than six years have passed since that one was out. Not much feedback about it, I'm guessing it's similar in influences. But I like then fact that he weaves the influences into his own. Definitely worth checking out, definitely show support for the scene and Johnny as a thriving musician that has a wealth of creativity.

To keep the scene active and supporting this band is something to do because he's amassed a monument here. You won't regret it!  (Death8699)

 

(Self - 2024)

Score: 78

 

https://everdying.bandcamp.com/album/dimensions-of-mortal-frailty

Sadistik Exekution - Fukk

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Black/Death

Oh merda !! Un fottutissimo album di quest'infernale macchina da guerra!! Quello che ritenni un capolavoro per la band australiana (anche i precedenti non scherzavano affatto), 12 songs di delirante metal estremo, con qualche parte doom, semplicemente chiamato 'FUKK'. Questo quarto album confermava ancora una volta l’estremismo con cui ci hanno sempre trattato questi veterani, un miscuglio di suoni veramente rozzi, che divulgavano odio da ogni nota, un disco da consigliare a tutti gli amanti dell'estremo, ma soprattutto alle persone che più ti stanno in culo, un album di carta vetrata e di pugni in faccia, o meglio un album per FOTTERVI senza farvi parlare. “I’ll kill you, YOU BASTARD”

(Osmose Productions - 2002/2022)
Voto: 80

https://www.facebook.com/profile.php?id=100050238170215

Linnea Hjertén - Nio Systrar

#FOR FANS OF: Folk Music

Coming from Sweden, the young artist Linnea Hjertén presents its first effort entitled 'Nio Systrar' (Nine Sisters), which has been released by the well-known Swedish label Nordvis. Linnea’s obvious inspiration comes from her country’s folklore and traditional music. Instead of sorely focusing on creating songs which would be a mere portrait of traditionalism, this talented artist is influenced by a different range of projects and styles. In this album, she tries to blend these influences under behind the curtain of a darkened folk music.

Names like Forndom may come to your mind when you listen to Linnea Hjertén, or even the most ethereal sections of Wardruna, although other influences, a la Dead Can Dance, have also something to say in the conceptual inspiration of 'Nio Systrar'. Leaving aside other names, what Linnnea offers us is a dose of atmospheric folk with a strong ritualistic touch. Her angelic and ethereal voice is the driving force of this album, while the added folk instruments create the captivating ritualistic atmosphere around her. It is unsurprising to read that the artist herself mentions that the music was mainly composed in loneliness and with the lights off. I would also strongly recommend doing the same, both being at home or in the twilight moments of the day in the forest.

Linnea’s beautiful voice opens the album with a whispering voice in the album opener "Noder" while a background percussion and atmospheric arrangements, play a secondary role. This approach sets the bar of what we can expect from this album. An even more mysterious tone can be heard in "Vägen In", with this interesting combination of voices which is by far the most captivating aspect of this album and where Linnea has put more effort into it. In general, all the songs follow similar patterns, being some of them almost ambient pieces where the vocals are omnipresent, while others have a slightly greater presence of an acoustic rhythmic base. This homogeneity makes difficult to choose the highlights of the album, although I consider that "Vägen In" and more particularly "Återfödelse" and "Vägen Ut" are the ones whose vocals are especially captivating.

'Nio Systrar' at the end, is with no doubts a very pleasant and hypnotic experience. From my humble point of view, I would welcome a greater and more varied use of folk instruments, as I consider that this would help to create a more varied and surprising compositions. This kind of music perhaps does not need to be particularly varied, but an extra work on this aspect would be very positive, and it would surely help Linnea standing out from other projects. (Alain González Artola)

(Nordvis Produktion - 2024)
Score: 72

https://linneahjerten.bandcamp.com/album/nio-systrar

Obituary - Live Infection

http://www.secret-face.com/

#FOR FANS OF: Death Old School

I was wondering why James on guitar sounded the way he did and to conclude that wonder it's because Kenny Andrews was on lead. He had the effects down pretty good, but the technicality was waning. James was/is the master shredder either in Death, Disincarnate, Obituary and Testament. His quirky behavior was because like Chuck from Death, he had a brain tumor, but he recovered where for Chuck it was his demise. This 'Live Infection' album is about an hour long (CD version) and I still like it even though it's less technical than the original 'Cause of Death' release. And the change was because it wasn't James on lead (to me, at least), so it wasn't as listener friendly to Obituary fans.

Don't misunderstand me, this is a great CD, but the production quality was less than optimal. Four original members on this release, featuring Donald Tardy (drums), Trever Peres (rhythm guitar), Terry Butler (bass), and John Tardy (vocals).

I think that this release was optimal, but it could've been a lot better. Live albums are not as good as studio albums, with exceptions. Destruction's "Live Without Sense" as an exception, but that was a thrash metal compilation that supposedly "live."

This live album didn't get much feedback from listeners (only 1). When I first heard it, it was bringing me back to the 'Cause of Death' era, just not as good. But they still did a good job with their instruments. I just wish James was on lead. I always liked his creativity with the effects he uses and that vibe that comes out of his guitar. Kenny's OK, he plays on the modern Obituary albums, including 'Dying of Everything.' Obituary has always held this old school death metal sound. It's never really changed. That's what keeps the band "bad ass." And 'Live Infection' I still give them a "70" rating for. Mostly because of the sound of the instruments and aggression.

I really wasn't sure what to expect from this album since it wasn't 'Cause of Death' solely, it was Kenny Andrews that took over James Murphy's leads. There were bonus tracks, too, that made it into the killer sound that was a result.

The vocals, music and vibe of this album is the 'Cause of Death' sounding songs which makes it very listenable and brutal. They never changed their style of music, that was makes or breaks a band. I still felt that this was a "70" rating and will stick by that. Take a listen to this one! (Death8699)

(Relapse Records - 2022)
Score: 70

https://obituary.bandcamp.com/album/cause-of-death-live-infection