Labyrinth
6 Days To Nowhere

THE REVIEW

Known today for being one of the leading bands of Italian metal, capable of reviving its name back in 1992 with the album "No Limits", precisely two years after the previous "Freeman", our very own Labyrinth release their new "6 Days to Nowhere" to the market. With this record, they make a strong comeback, showing us once again that they are alive and well and still capable of producing a great album.

Of course, over time many things have changed, the first of which was Cristiano's departure from the bass, played here (and very well) by the band's singer, Mr. Roberto Tiranti, who is comfortable writing both bass lines and melodies; now let's move on to the genre: any changes? Well, yes, it must be said truthfully that the progressive/power base has remained intact. Still, this time they have ventured into more extreme fields, adding growls (performed by drummer Matt), blast-beats to make the album episodes more aggressive and captivating. But let's move on to the album analysis.

The opening is entrusted to "Crossroads", an extremely easy piece, very linear, endowed with good feeling and groove, which succeeds in the arduous task of opening the album thanks to perfectly fitting melodies, but also thanks to a vocal interpretation that, as usual, turns out to be top-notch. The subsequent "There Is A Way" left me a bit puzzled, not so much for the song's beauty (undeniable, in my opinion) but rather for a resemblance to various episodes of the previous album (for example, I'm reminded of Meanings). Next, we find one of the best pieces of the album: "Lost" is opened by a very fast drum that supports guitar riffs that lull and make way for a classical guitar arpeggio to which Tiranti's delicate voice is linked, but at second 39, something changes; scream vocals appear, and a drum keeps up incredibly fast and unheard-of violence on a group album.

We thus arrive at another great moment of the album, "Mother Earth", which brings us back to progressive shores, this time contaminated by a truly elegant and pleasant hard rock. The work done by Cantarelli and Gonella on the guitars is really remarkable as they create simple but extremely effective riffs that perform their job excellently. Subsequently, the songs begin to return to levels that are still good but more normal, no longer reaching the peaks of the previous two tracks: we find the semi-ballad "Waiting Tomorrow", praiseworthy mainly for the singing and choruses, followed by the cover of the Beatles' song "Come Together", where we can appreciate the search for personality in such a challenging cover.

The rest moves more or less as mentioned on less prestigious but still good territories, making this album a good work, perhaps far from Labyrinthian masterpieces ("No Limits", "RTHD", "Labyrinth"), but still far from the low-quality levels of some bands in our country.

Once again promoted, well done, guys.