mementomori

Yes, Fidia, in my opinion, and many others, is the best... anyway, it remains the most complete and rich in nuances... listen to it, you won't be disappointed!

beautiful review, the album is indeed the best embodiment of harris post grind... I also really like the much-maligned logghi barogghi, although it is inferior, truly obsessive, spare, and minimal in its forms... I like harris, now without the hypnotic bass of bullen, who samples his drums in perfect solitude... and to think that a few years ago these CDs could be found for 6 euros on sale in catalogs... or regularly at the stalls of flea markets...

but in fact it’s thrilling! it depends on what you mean by thrilling...if you look at the plot, I’d say no, but it does create a certain tension...in the post above I had fun trivializing it, but it’s truly an extreme concept, if you want, it can even lend itself to eschatological interpretations: the forest as a different dimension from the Real, a search for meaning, a discovery of oneself...in some aspects a metaphor for one’s own inner self, an escape from lies, from hypocrisy, from the clamor of chatter, of contradictions...a return to one’s own nature, to oneself, a flight towards Death as a place of Truth, as a victory over one's useless existence...jokes aside, it is certainly a concept that generates atmosphere and expectations, very focused on the protagonist's inner world rather than the usual stakes. In short, it seems to embody the true spirit of black metal, and since this review is aimed at a black metal audience, I think it will at least be interesting. As for the rest, like everything, it depends on points of view...personally, I reread the lyrics after writing the review, and if at that time everything seemed more convincing to me, today I couldn’t help but notice the more comic and surreal side. At the same time, however, I must say that they have kept their charm, and, clichés aside, I found them truly extreme in being so untaintedly adherent to the black metal philosophy in its less crude and more existential sense.

Sorry, a small appendix regarding the concept behind this album. In light of this review, I actually reread the lyrics, and I was truly amazed by the sublime idiocy that animates them. The battle music indeed suggests all sorts of adventures in the woods, but in reality, nothing significant happens: the protagonist (the story is told in the first person, making it a series of disjointed impressions) approaches one night, alone, in a forest with the vague idea of sacrificing himself, seduced by the moon and all that... already in the first song, he finds himself dancing with witches and trolls, and I must say that this is the height of action. The rest of the story is him wandering like an idiot through the woods, essentially achieving nothing while longing for a panic-infused connection with the forest, which naturally takes on sensual and erotic undertones, mixed with all sorts of malevolent embellishments... evil winds, the forest whispering his name, starry skies, northern lights... by the third piece, the guy is still riding the cold northern winds, guided by the eye of the wolf, crows cawing, spirits dancing, feeling superior step by step, and epic scenes, like him kneeling, submitting to the various forces of the forest, and so on... gates that open, new truths learned, all in first person, so it’s hard to tell if the protagonist is an idiot for the forests or if he’s truly becoming a demigod but we just can’t understand... by the fifth piece, we learn that 13 nights have passed! Damn, that's 13 nights he’s been loitering in the forest, caught up in some of the stupidest visions, an idiot wandering through the woods... meanwhile, it seems he has found the key to the ancient flame, but the forest starts to get muddied, increasingly sensual and melancholic, he naturally gives in to the call, strange hookups, not really clear with whom or with what (he could have stuck his dick in a tree hole or in the ground, we’re left guessing), but it must be an electrifying experience: "my blood in her mouth" and details like that depict wonderful couplings with the forest spirit... he’s totally stuck, he’s a doormat for the spirit ("I belong to her")... this is followed by post-sex omnipotence, hours and hours of extreme exaltation ("the full moon I adore, and it's victory, I raise my hand with their blood in me, as blasphemy rains over me") and it’s nice to notice how the pleasure of the moment isn't enough, and even at times when one should be at peace with the world, one ends up equally angry and blasphemous... but it’s Evil, my kids, there’s nothing to be done about it... but shush everyone, the goddess of the forest, recomposed after the hookup, guides the protagonist somewhere... I understand it's towards Eternity, alongside packs of wolves, while the forest fades and other beautiful things happen... in the last episode, to everyone's surprise, the protagonist decides to cut his veins, naturally at midnight, while the blackest flames burn... and in death, he finds eternity and omnipotence... exalted, he gives his soul to the devil, and becomes a king, a husband, I haven’t quite understood of whom, perhaps Death herself... in short, a true masterpiece! I’m serious: instead of the usual throat slittings and sword thrusts, vendettas and counter-vendettas, Naglfar gift us a spiritual concept, where the protagonist's inner self reigns supreme, and where panicked ecstasy, D'Annunzian romanticism, decadence, satanism, folklorism, masochism, fetishism, self-harm, a desire for Evil, a cult of Death, misanthropy, youthful nihilism and even a bit of fascism (with all those black flames) converge... as they say around my way: at your house, there's everything, there’s salami, there’s ham, your mother's sausage!!!

In the chaos of the extreme, they are truly a group that has something to say. Really valid, irreducible to any genre, they are simply violence and schizophrenia. Austin, even though he's a bit like the Marilyn Manson of the extreme, is a real genius. It was about time someone reviewed them... I eagerly await "Temple of the Mourning Star," the true masterpiece, and "In the Eyes of God..."

The crowns of autumn, as I remember them, had a very melodic black style with strong influences from medieval folk and Italian Renaissance music...acoustic parts, plenty of melody, and really very little violence...the singer was versatile, moving from a minstrel’s little voice to black screams, while embracing an epic-power approach shrieked in the style of Blind Guardian...original in rediscovering local traditions, catchy, but they never really grabbed me...in the end, I got rid of the CD...never and ever a 5!

Come on, and then rereading it I also find touches of irony, like the doom that aims directly at your balls (read: exasperating, not easy, verbose), or the guy who turns into a drooling old lady (the typical screaming of black metal). In short, apart from the final sentence, it seems to me that I didn't take myself too seriously... and then, I think it's clear that when I mentioned Paradiso Perduto I meant the Paradise Lost...

In Carnival of Souls, there’s a beautiful and quite long guitar solo... but don’t expect anything ultra-technical... it’s a guitar in delay, reminiscent of 80s darkwave, and it brings to mind certain things from Fields of Nephilim and The Cure. Melodic and full of feeling, in my opinion, it gives you goosebumps...

Help! Sorry, I left the computer off for a day and I find myself with billions of comments I've never received for one of my reviews... a real record! I thank those who appreciated it, but I have to underline one thing: I didn't want to come off as pretentious (the werther is a cliché, not a learned quote), I just wrote with my heart about the feelings the album inspired in me... I threw it down in one go and I must say I like it a lot, much more than some of my more convoluted and intricate reviews... I invite everyone to read more of my reviews, for those who don't know me, so it will be clear that my style adapts very much to the work being reviewed (for example, read my recent review of the indie rockers Blonde Redhead, totally free from rhetoric and big words) and anyway, my intent is always to communicate and explain, to make known often unknown bands... sometimes certain phrases of mine may appear empty sounding boards, but it's you (perhaps while listening to the album, to which the words are a corollary) who fill them with your meanings... death, whether you think about it or not, is a taboo subject and everyone approaches it with their own sensitivity... and in the end, a Goethe can't penetrate it more than Fabrizio Corona... thank you lovelorn, in a way I wrote it thinking about your reaction and I'm glad you liked it. Hi everyone.

great review...however, the album doesn't fully convince me, happy family and indoor games I just can't digest, they're too harsh, and I think they undermine a work that is otherwise fantastic...the production also seems a bit chaotic to me, lord fripp probably wanted it that way, but it’s a shame: while it gains in atmosphere, it also nullifies, due to the roughness of the sounds, certain good solutions that could have been highlighted more...we're still at stratospheric levels...