Iblis
Axiom

There are days when confused thoughts crowd the mind and always leave a bitter taste, something rotten, like after a hangover, and you don't feel like counting them or going out, because it's raining outside... anyway. There are shitty days when nothing comforts you, and you don't even care... The silence... the solitude... Then, you remember you have something there... it's just right for you, and it's time to dust it off. A certain 'Axiom' by the little-known Iblis, skilled in gathering the best elements of extreme metal, condensing them and enriching them with classical sounds with a retro flavor, something that initially leaves you puzzled but is actually decisive for the result obtained.

What seemed like a pointless ramble at the beginning of the review is actually the abstract painting of the sensations conveyed by the album in question, or at least a part of it. It’s difficult to explain that sense of nihilism, unease, and misanthropy that pervades the entire platter without appearing reductive and trivial, particularly in this case. Probably my insights don't coincide with the band's real intentions, but what I am sure of is that 'Axiom' is truly a great piece of work. Released in 2000 by the now-defunct Negatron Records (before closing its doors, the small Pavia-based label released other high-caliber albums such as 'Link' by Dammercide and 'Fetish Parade' by Glacial Fear, yet despite this, due to the ruthless laws of the market, it did not receive the fortune it deserved) it is the only full-length by the band from Como as the band dissolved afterwards. The line-up of the album is as follows: Moonbeam on violin, piano, guitar, and vocals; Thidra on bass, Malignant on drums. Musically, they offer us a technical and refined Death metal, which despite its appearances and the labels associated with the group, has little or nothing to do with Black metal (only the vocals are a Black-style screaming, but fortunately not too acidic and ferocious, as in my opinion, it would have ruined the work). What makes the proposition unique and very interesting is the classical component of the work. It's not a symphonic approach similar to many bands that often verge on the gaudy, but real classical compositions which cover a significant portion of the entire work. Just listen to the opener 'Transient' to enjoy the eerily beautiful splattered violins that duet with elegant and very touching piano parts. 'Blazing' follows, a short piano-only intro, and the track opens up immediately captivating, with a sustained rhythm and riff following the piano melody, which exits the scene after the first minute. The mood of the piece and the overall work is rather progressive, and what is surprising is that the classical piano and violin component, despite not having an important role in the actual tracks (those metal, to be clear), the album always sounds sophisticated moving away from the stereotypes of Swedish melodic Death; the melodies drawn from the guitar riffing almost always appear contaminated by a 'classical' compositional approach, rarely found in extreme metal. All the pieces are inspired and well-defined, and above all, they enjoy a good underlying compactness; tracks like 'Odd Grin' and 'La follia' show the perfect combination of classical instruments (never intrusive as I mentioned) and the purely metal part, the piano of 'Neverheard' and the violin-piano duet of 'Axiom' offer minutes of rare beauty, moments of peace, of redemption, only apparent as tracks like 'Infant' and the concluding 'Molesting Your Soul' reaffirm the aggressiveness of the work, dragging the listener back into the darkest corner of their soul. It seems necessary to mention the virtuosic performance of Thidra and Malignant. The bass is at the forefront, well highlighted by a robust sound that honors the very technical performance of the bassist, who also signs the excellent guitar solos present in 'Blazing' and 'Infant'. No less is the drummer, very meticulous and rich is his drumming, and the precision of the hits in the sudden pattern changes is commendable. I must say I was surprised by the excellent production despite there certainly not being a generous budget in support; the sounds are polished, not saturated, and well highlight all the instruments, avoiding that 'jump' often noticed in this type of work between the classical and metal parts. In conclusion, it must be said that the album lends itself to a 'meditative' listen, the extreme parts do not allow for explosions or refrains that serve as climaxes; it is the entire work that enjoys great intensity, captivating the listener with its progressive tumultuous progression. My only regret is that not being able to hear a follow-up to 'Axiom', I would have preferred a few more tracks, but perhaps it's better this way, rather than a prolix and watered-down product. The disc is still available and at a low cost (which never hurts!), truly recommended for those who love good music regardless.