sly

Finally, I've received the limited edition of IX Equilibrium, which contains a lot of treats for fans (including a poster) at the modest price of €10 (the wonders of eBay). IX Equilibrium brings back the Ensemble from the Land of Ice after two works, “In The Nightside”, a dark fresco of Arctic grandeur, and “Anthems To The Welkin At Dusk”, infinity carried to the point of exasperation, which I would describe as foundational for my musical growth and for the Black scene is a pale euphemism. The 9th Equilibrium is an ambitious platter, complex and free from lapses in style, which requires careful listening to be grasped in its countless facets. There are contaminations with other genres popping up (the fervor of Thrash, the oppression of Death) that enrich the already rich textures of our musicians. The keyboards become more grandiloquent than ever, giving everything a new baroque aura. Moreover, they abandon the granite mid-tempos that dominated the earlier volumes (especially the debut) in favor of a rhythm section that has never been so prominent, with angry, sharp, and dynamic sounds. Each track is a continuous sigh, but I mention “De Crystalling Reason” and its sophisticated final brass, “The Sound Of Icon E”, the first creation of the Norwegians that I listened to, “Sworn” with its absurd symphonic elements, and last but not least, the masterful “An Elegy Of Icaros”, a long ride that, thanks to the clean vocals, echoes the splendor of “Thus Spake the Nightspirit”.
It certainly doesn’t stretch to infinity like its processors, but IX Equilibrium is a work of pure beauty for the Emperor.
And now I await “Promethus.”

I agree with Marco, great review.

the review itself isn't bad, unfortunately this will be the seventh of this album

a great lack of mine
the review is too brief

a bit full of clichés but not bad

wonderful review, congratulations

I agree with everything foreveryoung said, you have great potential, you should use Italian more correctly.

Beautiful! Really, your reviews are becoming more and more beautiful.
The figure of the Angel is traditionally perceived as a celestial spirit of singular and profound bliss, an immaterial breath with almost consolatory features. However, the creature with angelic shapes, tinted by the Shape Of Despair, deviates from the classic concept of the Angel, being in reality the culmination of disillusionment and frustration. The Angel, now fallen, is tainted by the most intimate mysteries and sufferings of reality. The language used by Six-Pieces is that of the quintessential claustrophobic metal, Funeral Doom: it employs elongated, disorienting tempos, hefty and suffocating guitars, dark and disturbing dances, an unusual and pounding languor, delirious dreams and religious suggestions, partially approaching the shores proposed by the champions of Doom, My Dying Bride. The bipartitions created by the intertwining of the two voices, Natalie Koskine, with a tone both candid and sardonic in the same manner, and Pasi Koskinen, ineffable and corrupting with his growling, intense and diaphanous in his clean singing, are merged into the same pulsating matter, saturated with dramatic impulses and pathetic exasperation. Everything is suggestion and oppression, thanks also to the intervention of the violins, played by Toni Raehalme, violently screeching and almost mad in their impact, and the synths, which form the foundational structure of the tracks, mortally captivating and hypnotically insidious.
But there is more to the essence of the Finnish: indeed, through their art of sound, they bring to a paroxysm the deepest layers of the human soul, continually violated: the malaise of being, played out in the bipolar tension between mortification and affliction, in limbo between contingency and transcendence. Our artists thus become interpreters of a magnetic and fatal attraction towards darkness and the abyss, towards the mystery of death and decay, towards total nothingness. In reality, its ultimate purpose is not absolutely negative: the listening experience is indeed comparable to a long process of the scarification of the Self, which becomes capable of detaching itself from sensitive inclinations, leading to its cathartic purification, sublimating and exorcizing Pain.

I haven't listened to it yet. The first three albums are at a good level, while Are you dead yet? I found trivial and predictable.