Demetra Sine Die
A Quite Land Of Fear

DEMETRA SINE DIE ("a quiet land of fear") 2012 Black Widow.

Representation of Contradictory States "Human abstract" (from sir Wiliam Blake, "Songs From Innocence and Experience") of the Human Soul: ..."And from mutual fear, peace springs,. Until from selfishness, love grows".., two voices ride this decadent, opposed preface to oppressed and forced conformity, to rules and doctrines; the D.S.D. immediately warn us not to suppress our feelings, but to make them as precious as a Victorian page in an illuminated book, because indeed, we are in "a land of fear".

The narrating voice the verses that float afar almost two centuries, riding a single note of vibrational carillon, gives the universal countdown (Porcupine Tree, "Voyage 34") and dilated and phantasmagoric ("Aenima", Tool), for the plurality of chemical elements of suffering, which will lead us to none other than in a "red sky of mourning"; Demetra is our dispensing mother, and has the imperceptible face like the Immeasurability of the gaseous universe, she is our protector of sacred laws, ..."the sin in your head"... to finally reach the legislating human condition that is a peak of biblical sacredness, dominates our eternal father-son descent, sees the separation of thought-physical body.

The D.s.d. continue on these prehistoric notes (Neurosis, "Honor Found In Decay") prolonged by the scanning of "atmospheric-sludge arpeggios", tamed feedback and still, an electronic support, among the fingers of Canadian post-rock musicians. A black swan, an almost exclusive symbol of bloody beauty, and a woman bringing a "sudden stroke" in the listener's mind, make their way through the rubble of a perfectly Justin Chancellor-esque bass, a snare drum perfectly in unison with the dark dynamics of late '90s psychedelic metal, (Godflesh "Us And Them"). Marco Paddeu, always suppressing his voice like that of a narrator in a dream, implores this symbolic woman not to abandon, after all, not only himself but all of humanity: it is a dance of isolation.

Repeated "linearly mathematical" drum lacerations follow, musical openings cast in the peculiar re drop tuning of Adam Jones, against the sky of ghostly sighs, "A Quite Land Of Fear" introduces us to the Delay sound, "typically 10,ooo Days", forming like a net of flanger arpeggios, quieted only by the destructive machine of cymbals like the entire duration of "Hyms" (Godflesh) and frequencies of almost artificial noises, even for a torn tribal landscape: Perhaps this is how angels, according to Matteo Orlandi's Synths, can reincarnate in the eyes of those who observe in a "cold realism". Their structure, of setting wisdom like in a desert ballad of certain South Californian shamanic groups, has no boundaries, shifting the harshness of stoner rock to the games of acidic whistles. (And we are still miles from nothing). Examples of primitive strumming (Max Cavalera in Soulfly) interweave with existential melodies, like the cry of a Muezzin inviting to prayer: freedom is a concept posed by those who wear a god's robes, but it is the condition unconsciously enjoyed, in the poetic period of childhood, to which many decadent writers pray to return blind after death. The sun is silent, but also deafening, a full roar of two minutes and twenty, before realizing that the secrets contained within are only worthy of a wise lord. At this point, we find the unconscious in the "blues (thus the tragedy) for a red sun". Here we are directed to the "dark disease", contracted within dark cavities, sublimated in the alternative unrest of Layne Staley, "Distances" and a synesthesia of listening planes, which unites a bass playing on the expression pedal, a trumpet coming from mirages, created on the long lunar distance to questions of decline, and a very long slide, as long as the entire life of a human being.

The D.s.d consolidate their interminable style typical of the genre, a regular frequency from the beginning of the album shaped only by insertions of "engineering psychedelia", which interrupts its revelation only in the last track, which starts almost as a tribute to the famous "Blind" by Korn, then immediately finds shelter in the "dilanio pellicaniane" (City Of Heroes) Atmospheres where we have the only harmonious opening in a resounding chorus:..."embrace this freedom and try to avoid this compromise, this overwhelming desire..."