Le vene di Lucretia
Le vene di Lucretia

This review is meant to be my personal tribute to a band, a genuine revelation of clear prestige, and a tribute to their overwhelming creativity, officially revealed to the world through their debut album, which I am about to write about. As I set out to shape this intention of mine, I think of the Italian formations that have left a decisive mark in that limitless segment of the universe that we commonly and generally call Goth Rock. To be even more specific and clear, I think of those bands that are evidence that deathrock is not only a prerogative of overseas. Even in Italy, groups have emerged that have been able to recreate this kind of atmospheres and sounds. Names come to mind, essential and unforgettable, such as The Spiritual Bat (who, in 1994, had the great fortune to be the opening band for the Rome concert of Daucus Karota, led by Our Myth Rozz Williams), Chants Of Maldoror, Madre Del Vizio (who immediately became a milestone), Bohémien and, lastly, Il Giardino Violetto (even if their sound is darkwave, I want to remember them alongside the names mentioned because throughout Europe, thanks only to their demotape "Danse Macabre", they became an icon). In Florence, a city that gave birth to bands of the caliber of Diaframma and Litfiba (who, at the beginning of their career, proposed a rather darkwave sound), Le Vene Di Lucretia were formed and in 2005 debuted with their self-titled album, Deadmovement. The group essentially consists of Lorenzo and Tiziano, to whom Marco and Alfio were added, who are no longer in the lineup. Although the appearance of the ensemble's members is not embellished by the astonishing looks that the American pillars of deathrock have accustomed us to, Le Vene Di Lucretia still and absolutely hit the mark. I particularly appreciate the group's choice not to compromise the roaring incisiveness of the lyrics, their poignant lyricism (see "Bruciando Venezia"), by singing the words in Italian. Moreover, the sound of our language blends perfectly with the bright sound atmospheres evoked. The album opens with "Preludio," whose verses, scratching "like crow's claws" (hello Jim!): "Sweetest death is an act of love" fill the space. Landing on "La Vestizione," the vague sensation that pervades me from the beginning of listening to this work becomes ever clearer and more solid. I perceive something familiar to me; the sound of the guitar accompanies my mind towards BariBari (Barry Galvin): the sounds in "Atrocities" by Christian Death and those present in "The Eternal Deep" by Mephisto Walz. However, I quickly realize that this impression of mine is, in fact, a guarantee the fact that the fashion of the Florentine band is precisely attributable to deathrock, of which they are proponents and spokespersons, through their sharp and suggestive, vivid and direct words, as well as through their commendable instrumental architecture, which in certain circumstances ("Teste di morte") also personifies a splendid homage to CCCP. Le Vene di Lucretia is, in short, the latest exponent of the great Deathrock family, in whose genealogical tree illustrious names appear, but precisely because "good blood doesn't lie," this latest member also stands out and knows how to do honor, giving us splendor that has nothing to envy to the wonders produced by its "relatives." Returning to "La Vestizione," the incisive and pressing lyrics, full of magnetic charm, are sharp and admirable, precious and evocative. What I now write for this second track is indeed true for all the words sung in this album. Once again, parallels with examples of exceptional lyricism such as "Silent Thunder" and "Tales Of Innocence" by post-Rozz Williams Christian Death, or with the lyrics sung by Chants Of Maldoror in "Thy Hurting Heaven," allow me to understand that the band Le Vene Di Lucretia truly has excellent stuff to sell. "Madre Nella Veglia," the third track of this work, although it appears less pressing than the previous one, does not lack vividness, especially emphasized by the concluding phrase: "Open your veins," the last warning before silence. "Golgota" is a short ambient interlude, characterized by the incessant rhythm of the drums and samples that resemble Gregorian chants, as well as by organ notes. This interlude merges with the subsequent track "Le Vene Di Lucretia," an emblematic example of deathrock that takes flight at the dawn of a beautiful guitar riff, accompanied by the organ. Let me dwell, once again and always, on the symbolic and hypnotic lyrics proposed by the group: particularly in this fifth track, the phrases are gorgonic and beguiling, like the petrifying irresistible beauty of a mythological deity. Both "Santa Violenta" and "Harem" show how the pure and fast deathrock blood of the band runs through their veins. Approaching "La Morte Degli Amanti" and its dual identity, the disturbing closures of this album, I would like to take a step back and spend a few words for the already mentioned "Bruciando Venezia," or the song that all bands would have liked to have had the paternity of. It's not just a remarkable track but a small universe of emotions, colors, and shivers.

As I walk towards the end, I choose to close this review of mine with a personal memory. On September 22, 2006, I had the pleasure and honor of attending the live performance of Le Vene Di Lucretia at the Kindergarten in Bologna. It meant a lot to me, and the kilometers to Bologna in no way undermined the determination of my desire. Despite the passing and fleeing years, the memory of full satisfaction that sprang from their remarkable skill remains, now and always, etched in my memory.