mementomori

I'll say, I appreciate them as a particular reality within the thrash universe, and I recognize their merits, both technical and compositional, but I have never liked them. Eternal respect for them, though, but personally I find them too "Latin," "exotic." Osegueda's voice, moreover, I can't stand, while the funky incursions deflate my balls. It's a matter of taste, of course; the review is well done and detailed, it accurately describes the album's contents, but a 5 might be a bit too much...

si odradek, I know that album... so, blunt and ultra-personal opinion: at first, it intrigued me quite a bit, also because it reminded me of certain atmospheres of my beloved current 93 (those of sleep has his house, to be clear)... however, as I continued listening, it seemed to me that Carla gradually lost the focus of the discourse... let me explain: I am a lover of coherence and extreme situations... for example: the Currents are incredibly heavy, they break your balls, but they have the guts to follow their own delirium, ending up forging a highly original and self-referential music... Carla, on the other hand, draws a bit from Diamanda, a bit from Nico, a bit from the Currents themselves, a bit from folk, and a bit from certain things vaguely belonging to the indie/alternative rock world (I repeat: vaguely); it seems to me that she cannot hold the game until the end, not demonstrating the rigor that a certain kind of music would require... and ending up crafting a product that, although certainly not easy listening, is still quite accessible for a blowappiano type of market, which paradoxically rediscovers the Currents in 2006! not that I want exaggeration at all costs, it’s just that, used to certain atmospheres, the contamination with other sonorities, or with a blues/songwriter background, somewhat clashes with me... but, I repeat, it’s a personal opinion; she remains a great artist, definitely better than that other one, what was her name again?, Vania Ansa Vajajick, I think, the Galas of the Costellation... to the others: I’m sorry the review seemed lengthy to you... there isn’t much “literature” in Italy on sopor aeternus, and every time I decide to talk about artists who are seldom discussed, I like to elaborate, especially if I like the artist... I’ll try to be more concise. hey and thanks to everyone who managed to read it... for me, it’s one of the best things I’ve ever written...

Thanks to everyone... I'll try to respond to everyone in a haphazard order: Paponcero, thanks for the tip, but black metal definitely doesn't suit me anymore... I realized this in the past few days while listening to the first Shining album, which is a good thing but didn't move me... and while listening to it, I understood that it's not worth delving into certain sounds anymore... I already have plenty of black records, I don't feel like continuing down that path... As for the defenders of Blood Inside: guys, I'm not saying it's a bad album, on the contrary, I liked it a lot in 2005, but over time my enthusiasm has waned, I find it a bit haphazard, full of winning solutions but also of unnecessary and sloppy details, situations not managed the best way, and at times confused in trying to construct (without succeeding) overly complex sound stratifications... it's a matter of taste, I prefer minimal Ulver... finally, regarding electronic skills, I'm not saying they are amateurs, 80% of the time they're excellent, but it seems to me they still lack something, and the difference is evident when compared to folks like Matmos and Fennesz... so in various instances, they don't convince me, like in the second part of All the Love or in the tail end of the title track. With my 5, however, I'm willing to overlook these uncertainties. Lastly, I don't know how much sense the David Sylvian discourse makes: Sylvian is a great artist and has influenced the way this type of music is made; it's impossible not to find traces of him. Anyway, great Ulver, in my opinion, along with Throbbing Gristle, Jesu, and Robert Wyatt, have delivered one of the best blows of this year.

Andrew, if you don't mind black metal, I would suggest you listen to Black One by Sunn O))), a really great album, heavy as Death, but overall enjoyable... a good start... otherwise, there's also The Flight of Behemoth, always by Sunn O)), but that's really heavy... actually, I'm not an expert on the topic, but I can recommend Earth 2 by Earth (the progenitor of the genre) or O'Malley's project KTL, which delves into electronic music and is appreciated even in more, let's say, intellectual circles... bye

great retrieval, electric, the review accurately represents the contents of the album, but I don’t quite agree with the final judgment: it definitely talks about a product that is extremely original, daring, and truly extreme, especially considering the metal landscape of the time (even if the Monumentum from this point on will have very little to do with metal), but it has never really captured me. I think the myth of Monumentum was born more from Mammarella's relationships with Euronymous and the fact that they released albums irregularly, eclipsing for periods and re-emerging with always different sounds, but if you go to see the substance, they seem to me to be an extremely overrated band (better then the Kirlian Camera of Bergamini). As for In Absentia Christi, which I find extremely lengthy and lacking in spark, I particularly dislike the sounds, which to me seem a bit plastic. I also hate Zanetti's voice, which I find at times irritating, while I think the best part remains the vocals of the always-great Francesca Nicoli from Ataraxia. In any case, this is a strictly personal opinion, as many judge this album a masterpiece. De gustibus...

Thanks to everyone...as for the de-genres, every now and then I need a breath of fresh air, an excursion into other genres; otherwise, I get stuck and end up writing the same things...while reading Bartle's, I noticed there were quite a few gaps in the Sodom fundamentals in the database, so I thought: why not? ...I still have a whole series of obscure albums in mind to review; I promise I’ll soon return to my more congenial shores...as for Brings' riffing, it holds true what Bartle said: the guitarists of Sodom have never been geniuses, but Brings really doesn't convey anything to me, and the buzzing sounds certainly don't help...anyway, as I mentioned in the review, the game works well, proving that the best or worst of guitarists can hardly influence the essence of Sodom, which has always been centered around Angelripper's charisma.

Spectacular review... even though I don't give a damn about Airon and this butleg, I read it with great pleasure: truly remarkable this snapshot of metalhead life from back in the day, when the internet was a strange thing and we had to trek miles to find crap destined to be irretrievably lost to the dust of the ages... long live the evvi mmedal!

Fenrir, it’s a difficult discourse... the original industrial movement saw the current Western society as the terminal phase of a disease that infects humanity: the critique of the existing is the starting point, but instead of pursuing utopian and progressive fantasies (as was common in the sixties), there is a longing for the end of it all as a cessation of this perverse process and the pain associated with it. The step towards a misanthropic, elitist, disdainful, nihilistic individualist, and decadent conception of society is brief, especially when we reach the eighties, and this industrial will be stained by the romanticism of the emerging dark-wave: authors like Mishima, Nietzsche, or Evola are rediscovered, and when I talk about the right, I’m mostly referring to a set of values that look to the past, to restoration, to tradition as a rebirth for the human spirit, corrupted by the modern cultural world (the useful that enslaves any nobility, the flattening of feelings, the small-mindedness, the massification that destroys the individual, etc.). The world of apocalyptic folk is hopeless and usually sees the figure of the minstrel singing the ills of man among the ruins of a destroyed civilization. There are even those who go as far as to hail various Julius Caesar, Mussolini, etc. as ideals of strength and rigor (!!!). But often, it all proves to be childish, superficial, but above all, a reiteration of clichés now devoid of meaning. In general, I am someone who looks not at the "what" but at the "how" this thing is said, and unfortunately, the so-called grey area is full of smug ignorant people who most of the time don’t know what they’re saying, and they push these right-wing ideologies forward merely as a pose, somewhat like what happens in black metal with Satanism... with effects ranging from the ridiculous to the annoying... other artists, in my opinion, manage to provide a somewhat more intelligent or personal interpretation, and I’m talking about Tony Wakeford of Sol Invictus or Douglas P. himself... Douglas P. is particular, a right-wing gay is not such a frequent thing, and in some respects, he evokes the figure of Morrissey from The Smiths... as a testament that the music of Death in June is not just propaganda but the transfiguration of the inner world and experiences of an artist...

As for sol invictus and fire + ice, I wanted to say: pre-capitalist right.

Unfortunately, the majority of bands yes... apocalyptic folk arises from the industrial culture of the late seventies, where the use of certain cultural elements (from satanism to nazism to pornography) had a desacralizing/provocative intent, aimed at shocking the listener with the worst that Western culture has managed to produce. Over time, these elements, mixing with the romanticism and decadence of the dark, became clichés that were somewhat self-serving, acquiring reactionary tones that they initially did not intend to have. This gives rise to the Grey Area, which encompasses all those groups (stylistically different...from electronic to industrial to dark to apocalyptic folk) that share the common denominator of adopting right-wing ideologies. Some do it openly (der Blutharsch, boyd rice, blood axis, etc.), while others more soberly (Sol Invictus, Fire & Ice, who actually look to the past, almost to a sort of pre-capitalistic right that has little to do with fascism and nazism). People like Current 93, on the other hand, are fundamentally outside of these dynamics, and it’s no coincidence that they are my favorites. Douglas P. is a madman and makes his own story: his figure is too complex, and while he is certainly not a comrade, it seems reductive to stop at the right-leaning moods that permeate his music (even though, alas, many love him precisely for that).