Migraine - Un'Abitudine

#PER CHI AMA: Stoner/Rock

I brindisini Migraine presentano la loro nuova seconda fatica, elaborando un sound ancor più muscoloso del precedente album, pur rimanendo sempre melodica e, novità assoluta, stavolta utilizzando il cantato in lingua madre. Sicuramente contaminati da un certo modo di fare rock tipicamente italiano, si sentono anche rimandi e una certa ammirazione per il mondo psichedelico dello stoner di ultima generazione, QOTSA e affini, e una buona dose di ispirazione proveniente da riff di prim'ordine; per farvi un'idea pensate all'immortale inizio di "Cochise" degli Audioslave. Buona la produzione che appunto ne risalta la dinamica, mentre per la fantasia compositiva che spesso riecheggia del mood del 70's/90's rock, è varia ma non sempre spiccatamente originale. Bravi musicisti, voce roca quanto basta (che ricorda un po' il Manuel Agnelli dei tempi d'oro), brani suonati bene e una buona orecchiabilità, in alcune parti più funkeggianti, come accade in "Era", in cui strizzano inevitabilmente l'occhiolino verso una commercialità da classifica molto marcata, che evidentemente rientra nei piani stilistici della band. Musicalmente possono destare un buon interesse, anche se personalmente li vedrei con un sound più acido e indie, come nella breve suite strumentale "The Height of Summer", in odor di affascinante post rock. Le idee fumettistiche alla Tre Allegri Ragazzi Morti, per quella grafica di copertina, anche se ben fatte, non mi hanno preso troppo, mentre a livello musicale mi ha colpito un lieve richiamo agli ultimi Karma o ai Ritmo Tribale, quelli de 'La Rivoluzione del Giorno Prima', mentre per i testi mi tengo una riserva. A volte infatti mi hanno lasciato un po' perplesso; magari possono funzionare per la fase adolescenziale ma il rock italiano, cercando nelle sue varie epoche e nelle sue tante sfaccettature, ha molto da offrire in fatto d'ispirazione poetica. Come già detto, buona la produzione del disco, che offre, in "Linda", anche piccoli inserti, e inaspettati ritocchi di riverberi sulle percussioni, tipici dei richiami dub presenti nel suono dei The Police, tanto per rendere l'idea. Riff iniziale granitico per "Indagini", un blues standardizzato ma di buona fattura per "Tatooine", mentre per la conclusiva "10 Gocce", i Migraine si lasciano andare a una sorta di ballata dal sapore cantautoriale ma sempre rock. In definitiva, 'Un'Abitudine' non è proprio un album rivoluzionario ma un buon disco, godibile, accessibile e dinamico al punto giusto. Il rock italiano che prova ad alzare la voce. (Bob Stoner)

(Dirty Brown - 2025)
Voto: 70

https://www.facebook.com/Migrainebandoff

Napalm Death - Death By Manipulation

BACK IN TIME:

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

#FOR FANS OF: Death/Grind

At the time of the recording (1991), Napalm Death recorded only two new songs "Mass Appeal Madness" and "Pride Assassin", though they re-recorded some old tracks with the more modern lineup as well as modern recording equipment. The compilation is somewhat of a disappointment because they really seemed to have “slowed down” despite efforts to keep the band in the grind/death metal arena. Fans, including me, were (I think) upset of this musical direction, even after 'Harmony Corruption' (1990), since it sounded a lot like a death metal record than their earlier stuff which focused on heavy guitar but still ruthless grindcore. The new songs were heavy and catchy, but they lacked the intensity that the “old” Napalm was so successful at.

I did like the re-recording of the older tracks and of course the last of the songs when Lee and Bill were both in the band, taken off the record 'From Enslavement to Obliteration' (1989).

This compilation captures the old material and newer, but it’s like a segue into the “newer” sound and direction that fans of the old disliked very much. I don’t think that they “sold out”, I just think that they should’ve either disbanded or changed their name after this. I’ve been so frustrated with the band’s sound because they just stopped being all out aggressive and intense, the music bores me to death (no pun intended). I liked these two new songs, but even the blasts by Mick were not even as intense as his old blasts, reflective on ‘Harmony Corruption’ (1990) or before. This record clocks in at 41 minutes and keeps me interested, but ultimately disheartened.

I do think that Mick did realize this change occurring when Barney (ex-Benediction), Mitch (from Righteous Pigs) & Jesse (ex-Terrorizer) joined the band, something Lee was dreading, causing him to leave in 1989. It just didn’t work out, and I feel yes Danny might be a nice guy, just Mick was a force not to be reckoned with, causing me to be upset with their sound and boredom with their records occurring after his departure after this record.

When Mick left the band, Napalm Death left also, at least to me… (Death8699)

(Earache - 1991/2023)
Score: 60

https://napalmdeath.bandcamp.com/album/death-by-manipulation

Incantvm - Maleficia

#FOR FANS OF: Atmospheric Black

The Italian metal scene is well-known for its quality power metal, although it also has a particularly interesting underground scene. While some bands focus on being firmly rooted in one genre or another and follow the orthodoxy, there are projects that, without abandoning their roots, try to find a more personal sound. The Italian project Incantvm is one of those. As soon as the project was created in 2022, Incantvm released a quite interesting debut effort entitled 'Strigae'. This Italian band plays black metal, but it is enriched with several influences that help forge a less predictable sound, offering the listener a more exciting sonic experience.

Based on my first experience listening to Incantvm’s music, I was curious about what the project could offer in its sophomore effort, 'Maleficia'. This is a pivotal moment for every project, as the second release always plays a key role in confirming the band’s potential. 'Maleficia' is certainly an intriguing work. Black metal is undoubtedly the main influence, but their approach to the genre is enriched with several other influences, including folk, progressive elements, and some experimentation. Each composition has its nuances, making the listening experience interesting, as you never know what the band will offer with each piece.

"Donna Prudentia" is the first proper track, where raspy vocals are combined with heavily folk-influenced instrumentation. Even in a shorter track like this one, there is room for some avant-garde touches that break the predictable structure of the composition. As the album progresses, the compositions become longer, providing ample space for creating complex and varied pieces. "Incantvm/Kyrie (from Mozart’s Requiem K626)" features ups and downs in its pace, tastefully crafted melodies, and a strong dramatic and theatrical nature in its final part, which is logical given its inspiration from Mozart. The album closer, "Diana", is almost an instrumental song, leaving me with the feeling that it could have offered a bit more. The instrumentation is good, but it sounds much more predictable than the previous compositions, which is somewhat disappointing, especially considering that it is the longest track on the album.

At the end, the Italian band Incantvm has created a special work in which they have tried to produce something original, which is something I always praise. Instead of restricting their own vision, they have introduced new ideas and influences that, and this is very important, work together well and make it possible to present an album that sounds cohesive, even though it has an experimental and risky nature at times. A more ambitious final track would have perfected the result, which perhaps is the only negative point to be improved in future efforts. The talent and ideas are there to achieve this goal. (Alain González Artola)

(My Kingdom Music - 2025)
Score: 73

https://mykingdommusic.bandcamp.com/album/maleficia

Fiesta Alba – Pyrotechnic Babel

#PER CHI AMA: Math/Progressive/Experimental

Ok va bene, di questo album ho letto di tutto e concordo solo con la spiegazione che si trova sulla pagina bandcamp del mascherato gruppo capitolino, ovvero, la continuazione della loro esplorazione sonica e culturale iniziata con l'omonimo album del 2023. Quindi, mi piace l'accostamento a certe cose storte dei Battles, ma la cosa che mi piace ancor di più, è associare il titolo alle musiche che si sentono in questo disco. 'Pyrotechnic Babel' è un titolo perfetto, perché questo album è realmente pirotecnico, nel senso che la sua concezione richiede capacità e variegata cultura sonora, e la babele di generi mescolati al suo interno ne confermano le intenzioni della band. Si parte con "No Gods No Masters", che si presenta subito come il singolo bomba perfetto, e la presenza di Katarina Poklepovic dei So Beast, aumenta vertiginosamente la qualità del brano. "Technofedaulism", con la voce registrata del signor Gianīs Varoufakīs, presumo parli di economia e sistemi bancari paralleli o similia, in un contesto sonoro che ricorda nelle sue chitarre, il sound brillante che un tempo apparteneva al mitico 'The Catherine Wheel' di David Byrne o all'immortale 'Once in a Lifetime', influenzato dalle Tricot, anche se sicuramente più frenetico e drum' n' bass dipendente. La conclusiva "Fisher was Right", a suo modo, rispolvera, in salsa più etnica, certe sonorità dub d'epoca, con un basso al sapore di The Pop Group, che ci permette durante l'ascolto, di navigare e sognare in buoni termini psichedelici. Nella realtà, il disco non suona come una novità assoluta nel suo genere, sono molte infatti le band che hanno sperimentato questo ampio intreccio di stili, ma l'intelligenza con cui è stata composta e assemblata questa collana di brani, fa in modo che al suo ascolto, 'Pyrotechnic Babel', risulti un efficace, moderno, bagno di suoni, che esplorano innumerevoli paesaggi di note in un meltin pot continuo e curato, ove possiamo trovarci di tutto, dalla world music, all'afro beat, math rock nella sua forma più morbida, rap, hip hop, spoken word e qualcosa di velato e nascosto che mi ha ricordato certe intuizioni in odor di Patchanka. Inoltre, aggiungerei tracce di musica etnica africana e pop raï, contaminazioni da elettronica sperimentale e new jazz ("Collective Hypnosis"). Con i suoi numerosi ospiti e le sue buone intuizioni compositive, il disco risulta essere un lavoro indicato per esperti cacciatori di suoni nascosti, alimentati dal fuoco della ricerca verso musica di ampie vedute, motivati a coglierne provenienza e derivazione per gustarne a pieno la sua essenza. Se poi aggiungiamo idee e testi, pensati e ragionati, tra filosofia e narrazione delle contraddizioni della vita contemporanea, non posso far altro che augurarvi un buon ascolto. (Bob Stoner)

(Bloody Sound - 2025)
Voto: 75

https://fiestaalba.bandcamp.com/album/pyrotechnic-babel

Arch Enemy - Blood Dynasty

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

#FOR FANS OF: Melo Death

Thank you, Michael, for bringing back a lot of the old material-type melodic death metal sound! This is in a modern world where pure talent reigns supreme over AI generated recycled rubbish. This release and 'Deceivers' (2022) are my favorites of theirs in the “Alissa generation” of Arch Enemy. I feel that this is the best effort she’s had since being in the band. She incorporates her guttural sound, mixes a little of The Agonist metalcore of herself (which is something I have yet to hear), and has a little version of her clean voice, something I’ve never heard either.

 

In evaluating the intense music as it relates to the guitar sounds/riffs, I'd have to say that they're continuing to exhibit the old "heavy" types of execution. However, I do think that there is more emphasis on that than their notorious outro melodies, which shaped their unprecedented sound and ability to captivate listeners. The differences in 'Blood Dynasty' (to me) is that while maintaining their ultimate heavy riffing, there are songs that still reflect the Arch Enemy of the old. They're not as prominent, but they are still there. Even a track there that's completely slow and played with clean guitar. I'll discuss a little more next, with a little more background, especially with new listeners of Arch Enemy, since the band has been around since 1996.

The music here is more in the vein of the band when Christopher was still around in the recording for 'Rise of the Tyrant' (2007) era. Some of the guitar music is very much in retrospect of that time. And Alissa’s dirty vocals remind me a lot of when Angela was still with them on frontman duties. Joey (guitars) played on Christopher’s Armageddon albums 'Captivity & Devourment' (2015) and 'Crossing the Rubicon (revisited)' (2016). He has been a long time Arch Enemy fan. He’s only 34, but the guy is wicked on lead. I feel this is a collective effort with the band, letting rid of recycled sort of melodic metal music replacing it with the melodies that shaped Arch Enemy’s signature sound, especially in the early era when Johan was on vocals (the first 3 LPs). You don’t hear as much melodic sound on this as was on the early days of Arch Enemy with songs such as "Fields of Desolation" (1996), "Bridge of Destiny" (1998), "Pilgrim" (1999) and "Burning Angel" (2001). 'Blood Dynasty' is heavy, but the emotional sounds are once again fairly evident. You can hear the passion once again in the music. That shaped their sound in the beginning which gradually dissipated over the years leaving fans in disappointment. This particularly was evident on multiple LPs when Angela was still with the band. When Alissa took over the position more than ten years ago, there were some releases that were complete flops. Albums such as 'War Eternal' (2014) and 'Will To Power' (2017) had maybe 1/2 songs that were “OK”, but they lacked that signature sound that was captivating that Arch Enemy fans from the get-go, especially their Japanese fans. This album is the epitome of their selective sound, abdicating the “they’re pretty bogus” type of opinions about the band leaving the listener now in excitement and curiosity about this release and what’s to become in their immediate future, especially now since they are now middle-aged musicians (except for Joey).

Speculation regarding Michael’s playing/songwriting with Arch Enemy is that yes, he has always been that, more of an “emotion based” guitar player. His brother is way more on the technical side, which is where Joey reflects on here. It’s a good combination and the recording was quite good, nor can I find anything that they did not do wrong here. The rebirth of the old yet again that confidence in their sound proving that, and they’ve still got it!

If you agree that what’s been said of this LP is accurate, then buy the digipack or digital recording. Show the band respect for creating something that this time around is worth it and was worth living up to the hype! (Death8699)

(Century Media - 2025)
Score: 80

https://archenemyofficial.bandcamp.com/album/blood-dynasty-24-bit-hd-audio

ThunderStorm - Sad Symphony

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Epic/Doom

Già la stupenda copertina, un quadro di uomini attaccati da scheletri in un sobborgo medievale, inaugura la mortifera atmosfera dell’album, che si presenta con un doom che, solo musicalmente, ricorda i primi My Dying Bride. Diversi rallentamenti vengono profondamente marcati, alcune accelerazioni e molti stacchi cupi appaiono però influenzati da sonorità anni ’70. Da sottolineare poi il tono vocale pulito del frontman che tocca molti acuti, alla maniera dei Candlemass di Messiah Marcolin, rimanendo però sempre intrisa di un velo di tristezza e facendo peraltro riemergere, a livello sonoro, qualcosa dei Black Sabbath dei primi album. In un ripetersi ossessivo di atmosfere oscure e faticose, il cui altro termine di paragone mi riporta ai Tristitia, 'Sad Symphony' si presenta assai tragico e rotto nel suo dolore, da una serie di cambi di tempo. E alla fine, l’album si chiude con un piano che spezza quella ritmica asfissiante che caratterizzato i 50 minuti di questo disco.

(Northwind Records - 2000)
Voto: 70

https://www.metal-archives.com/bands/ThunderStorm/2777

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Emortualis - Live Carnage/Re-Writted by Death

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Death Old School

'Live Carnage' è una sorta di promo live contenente sei brani (riproposti peraltro nella compilation uscita 17 anni dopo e intitolata 'Re-Writted by Death', e di cui peraltro proponiamo l'artwork, data l'assenza della copertina di questo disco). Il lavoro comprende una cover dei Cancer ("Hung, Drawn and Quartered") e una quanto mai bizzarra versione death de "La Bamba" più quattro pezzi votati a un death metal nudo e crudo. La qualità della registrazione, occorre dirlo, lascia piuttosto a desiderare. Il contenuto musicale poi? Rozzo, elementare, primitivo, eppure, proprio in virtù di questa sua immediatezza, scevra da sofisticherie, non privo di una certa "grazia selvaggia". Il paragone suonerà forse eccessivo, ma - giusto per darvi un'idea - a tratti, si respira un'atmosfera alla Autopsy.

(Self/Huginn Productions - 1992/2009)
Voto: 65

https://www.facebook.com/Emortualis