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An Autumn for Crippled Children had already delighted the extreme underground audience with "Lost," released a few years ago; a debut album that was both black and psychotic, as exaggerated as it was elegant. Now they have returned under a new guise with "Everything," a new chapter for these Dutch artists who apparently do not like to repeat themselves.
Comparing "Lost" and "Everything," it is impossible not to notice a substantial change in the choice of sounds: catacombal and dark the first, open and bright the second, deeply influenced by clearly Post Rock sounds, which, it seems, have recently become very popular among the more modern and sentimental Black Metal bands. Needless to say, this stylistic formula has brought success to many bands, first among them being Alcest who with their repertoire of innocent girls, immaculate faces, crystalline waters, and young romantics have certainly achieved worldwide success, especially among depressed teenagers and fake intellectuals.
A separate discussion is required for An Autumn for Crippled Children; despite the sounds of this album fully justifying the white color of the cover, there is a dose of decadent rot and mental deviation in their music that even such a bright sound cannot erase! Listening to these Dutch artists is like taking a journey through the corridors of a turn-of-the-century asylum; the facade is elegant, like a sumptuous villa, but it is in the patients' rooms and the undergrounds that the real soul of the asylum resides, made of suffering and deviation, torture and cruelty, just like "Everything," bright on the outside and terribly dark on the inside.
This is a very complex album, much more than it seems at first listen; it requires a lot of time to be understood and assimilated.
A challenging album, but tremendously well made, hats off!
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