mementomori

So, paponcero... to get to know Death in June, I think it’s good to start with "but what ends when the symbols shatter?" which brilliantly showcases the folk period (if you like it, also try "Rose Clouds of Holocaust," which operates on the same coordinates); secondly, I would go through their albums from the 80s, less elegant but more incisive and visceral, moving between industrial and folk ballads: first of all "Nada!", which mixes industrial, dark wave, and folk. If you like that too, then you won’t be disappointed by the subsequent "the world that summer," "brown book" (many see it as the manifesto of apocalyptic folk), and "wall of sacrifice" (very beautiful but extremely challenging). In my opinion, this is essential. If you want to delve deeper, there are the early works, still raw, representing the post-punk/dark-wave era, but at least initially, I would avoid those... and if you really want to, start with "The Guilty have no Pride" and then aim for "Burial." As for the latest works, those with Julius are very beautiful and elaborate, but completely renounce folk to embrace warlike industrial in the style of Der Blutharsch: of this phase, "Take Care and Control" is essential. Those with Boyd Rice, however, I would avoid: "All Pigs Must Die" and "Alarm Agents" revisit the folk formula of "but, what ends..." but without the inspiration of the past... well, you decide...

Alessio, honestly I don't understand the point of your intervention... I'm the first to think that the discourse of the Ain Soph is trite, and far from presenting it as a great insight, I have simply confined myself to faithfully reporting their thought and making a few marginal comments that, of course, don't aim to be particularly penetrating or illuminating. In short, in your fury to stir controversy at all costs, it seems to me that you are confusing subject with object, reviewer with reviewed. For my part, I simply wanted to talk about an album, illustrating its conceptual contents (which, by the way, are not purely political/ideological in nature, but, as I mentioned, have their roots in esoteric doctrines and the philosophy of Evola, and therefore, especially in light of them, these contents should be read)... I don't know, something useful could have been to go on Wikipedia and inform oneself a little about Evola (who I, by the way, know little about and of that little I truly value very little)... it is true that speaking like this about communism and fascism does not capture the complexity of the two phenomena, but, precisely because we are on a music review site, I relied on the reader's intelligence to understand the necessary simplification I had to undertake. I agree with those who tell me I tend to explain too much... after all, I wanted to avoid controversy, especially because I touched on a sensitive topic, so as to avoid ending up giving explanations in the posts... however, I don't agree with the conception of communism as "after."

Yes, it's true, the Ain Soph are not exactly the children of doubt... after all, their belief, even ideological, stems from philosophical assumptions that impose a certain rigor and a certain firmness of thought. Therefore, even when it comes to politics, one shouldn't expect complex analyses encompassing multiple viewpoints, but rather corollaries that rigidly follow from principles rooted in a broader speculative thought. Anyway, I think that Electric One, in his last comment, was not referring to the group but rather to his own way of seeing things (which I share). And as for the conclusion of the review, I may have, perhaps too casually, extrapolated that sentence and appropriated it, generalizing it while momentarily setting aside what the Ain Soph truly are...

Excellent review. One note: the film is a perfect machine, managing to instill a truly rare tension in today's cinema, which tends to rely on cheap thrills (with Avati, for example, just the ringing of a phone can make you jump in your seat!). The problem is that it all comes off as a well-crafted and packaged cinematic trick, but unfortunately, it’s all too predictable... in short, you can see where the film is heading within the first twenty minutes (also thanks to the trailer, which unfortunately reveals plot twists that would have been better left for the viewing of the film)... in short, the trailer creates really high expectations, and while the film holds up, disturbs, doesn’t disappoint, it also doesn’t surprise or leave you breathless, as happened with *La casa dalle finestre che ridono*. In any case, light-years ahead of Argento and that nonsense *La terza madre*: Avati has certainly aged better... Morante, who usually doesn’t appeal to me, is absolutely great here and is appreciated even from a purely aesthetic point of view...

fourth dimension-abducted-final chapter-hypocrisy were a nice quartet, but then they got boring...tagtgren certainly has some compositional and melodic talent, but in the end, he wore me out, and as a producer, he just makes me feel sorry for him; he even managed to make the immortal sound dull...I agree on the hyper-activity...taking things a bit more calmly and thinking carefully about what to do before churning out monthly albums would do him a lot of good, especially since he has the qualities...anyway, I envy him; he must be living a really nice life in his futuristic castle in Sweden, drinking beers with destruction...

massicrass, when it comes to the early works, politics and ideologies play a very minor role, but with this album it was impossible not to touch on the subject... just as it won't be with Ottobre, which I am about to review... it's true, however, that while the magical and ritual component is practically absent here, the contents of this album serve as a corollary to the assumptions of Evola's philosophy, thus establishing continuity with the past on a conceptual level... anyway, any comparison with the Current (which I mentioned as a reference point) is merciless; the Current are from another planet... certain works of Ain Soph in their early style are pure rituals, which have very little to do with music...

Well, it seems clear to me, ultimately... to avoid making hasty judgments, I have quoted excerpts from their interviews and passages from the writing that explains Aurora’s intentions, but despite the circumlocutions and flights of fancy, the political orientation is evident... Evola, tradition, anti-tradition... however, in this case, I would speak more of cultural background, of a worldview and way of perceiving things that underlies but does not emerge forcefully throughout the work, because in Aurora there is nothing blatant nor are there shameless declarations; many songs are, for example, about love, others are ironic, and while the line is clear, we are not suffocated by sordid content. As for whether they greet each other with an outstretched arm in everyday life, I don’t know: the public dimension has never meant much for Ain Soph (7 concerts in 20 years, ever-changing members... in one photo, one even wore a CCCP shirt...).

still a bit too rough and limping, in my opinion... definitely mature as a debut, but maybe 4 is too much, even for the fans of Anathema themselves... in fact, White is too one-dimensional, and it's hard for me to make it to the end of these 35 minutes (by the way: Reign in Blood lasts 28 minutes!!!) and so I've always preferred to spend my time with the excellent Serenades...

In the first half, it's a true masterpiece, but in my opinion, the second part shows a significant drop in inspiration... Initially, I was struck by it, but then it wore me out, failing to stand the test of time... What a shame, because the atmospheres are damnably sultry, and the proposal is truly original... However, it could have been packaged better... Celtic Frost are undoubtedly the most fitting reference.

don't take it personally, Electric, it's a classic on debaser: as soon as there are two or three metal reviews on the homepage, the inevitable message of irritation about the metal world materializes. As if these gentlemen were forced to read these reviews... instead, we are the honest lovers of music, respectful of other people's tastes, ready to engage in a conversation if necessary, but always in a constructive manner, we are the ones forced to read the childish comments of kids who perhaps until a year ago listened to Green Day and since the other day they discovered, I don't know, Cocorosie, Bob Dylan, or Buscaglione, feel entitled to intrude into others' reviews and speak ill without any understanding... who knows why people have such a grudge against metal... unfortunately, those who don't know it can't imagine that beyond the usual clichés, there is a vast world rich in content and nuances, and branched into very different sub-genres, in fact into real genres, because tell me, what do Grave and Anathema have in common... ignore it, Electric, ignore it... online and hidden behind nicknames, everyone is bolder...