Malanoctem
Dall'Adriatico all'Aldilà

"Quality and Personality. The genre, the name, and fame don't matter. What matters is the Essence".

These are the words we find on their official Facebook page under "influences." Just to remind us that the name doesn't matter, but the quality of what is offered does, and here, quality is abundant. The five guys from Abruzzo, after creating their first Promo in 2009, have come a long way, and quite a lot. A very successful single released in the first half of 2011 (Vitrei Presagi) has made them known throughout Italy (and abroad), through compilations, radio play, interviews, and live shows.
I myself discovered Malanoctem in this guise, but finally, there is something tangible to judge, free from frivolous digital downloads that debase the true sense of music and relegates artistic qualities to disposable "files." It's at the end of 2011 that this 5-track EP sees the light, with the very evocative title "From the Adriatic to the Afterlife."
Rather than an EP, I would define it as a MINI ALBUM, given that the record lasts about half an hour. The lineup we find here is changed by 2/5 compared to the one on the previous work (reviewed by me a week ago on DaBaser), and the new additions are noticeable. The caterpillar has transformed into a butterfly.

In Malanoctem, we find a personal and convincing interpretation of the "metal" concept, a tastefully executed approach, and the right key to make every composition appreciated from the very first listen. The extreme metal of the mid-'90s blends forcefully with the vintage taste of '70s/'80s rock, a daring combination if you will, but here it results in original and well-thought-out outcomes. Technique and inspiration are the driving force of the quintet. Upon this foundation, the splendid and versatile voice of Pasquini Antonio weaves through, reminding me, in terms of metric, pathos, and solutions, of an early Piero Pelù revamped in an extreme way (17RE). He extols the praises and deeds of his land through varied and very expressive interpretations, an incredible number of vocal timbres used in a single piece.
The CD in my hand represents the commitment of these five young men, a splendid package with many gadgets that include: 2 limited edition pins, a poster, an embroidered patch, and a sticker with the band's logo, all wrapped in a sort of digipack made with antiqued paper.
For being a self-production, they have spared no expense and, in addition to having excellent sound quality, offer the buyer a visual value that should not be underestimated. The graphics do not leave one indifferent, especially on the inside, which once opened, reveals a clear and bright sky with an imposing statue in the foreground.

Looking at the band photo on the back cover, you realize that everything is meticulously planned, with the Malanoctem represented against a backdrop from another era, hinting at an ancient and mysterious Italy, far removed from the classic castle/forest/face-painting photo clichés. As widely reported in the credits, "From the Adriatic..." is entirely composed, arranged, played, mixed, mastered, and produced by Malanoctem, so I can safely say that those who manage their "own affairs" entirely can bring out competitive products and give more renowned and known bands a run for their money.

Abruzzo astonishes once again, after the Pagan Black Metal band Draugr, Malanoctem, this land seems to be a hotbed of uncontrolled creativity. The two bands, in addition to sharing the use of the Italian language, represent a well-crafted artistic segment that tells the deeds and stories of Italy (particularly of Abruzzo), without ever descending into cheap patriotism but exalting the strong bond between a man and his land of origin.

Pressing play, a piano intro accompanies the dark voice of John (Emperor of Shadows) and "Solima" takes form, the most mature and complex episode of Malanoctem's new phase. Nothing is missing. An epic text that can't be more epic tells the birth of Anxanon (present-day Lanciano), and while all this happens, the sonic backdrop shapes an original and well-constructed wall of arrangements and inventions.

"1179, ante christum natum...
Destroyed now Ilio, fleeing from memory..."

In the 7 minutes of "Solima," Malanoctem immediately make one thing clear, good taste and refinement go hand in hand with the aggressiveness of the riffs, completing a fascinating picture full of nuances. It is undoubtedly the least immediate track on the album but contains an appeal that will certainly bear fruit live. There isn't a single piece out of place, where in one track black metal, melodic death metal, progressive, heavy metal, and '80s hard rock converge. Luigi Feliziani's searing solo completes an outpouring of inspiration and lets the listener journey... "From the Adriatic to the Afterlife."

Hardly enough time to recover before being assaulted by the fury of "Abysses of Tears." The second track on the record presents the band's darkest soul, as well as the most aggressive. Antonio's screaming mixes with the voice of Porz (Malnatt) and describes anguish and terror in an extreme piece but with a very modern taste (latest Satyricon).
Malanoctem wink at the mainstream with blues/rock hints, making certain inventions that catch the listener off guard effective. The Blue Öyster Cult playing black metal? Over the top again is the lead guitarist's performance; needless to say, it is the added value of the band along with a drummer who proves to be truly in shape.
Technically speaking, there isn't a single weak link in the Frentano combo.

A soothing lute sound opens "Vitrei Presagi." To be honest, this piece surprised me quite a bit, as when I briefly read the title on the back of the cover, I imagined the piece that had already been circulating for some time on YouTube. Malanoctem roll up their sleeves and create a fully acoustic arrangement of their first single, enhanced by spine-tingling clean vocals, excellent violins, and acoustic guitars. The Feliziani/Ruggieri duo is indescribable. Practically, the sweetest and most dreamy part of their music emerges, materializing a scenario of ancient times, of knights and strong virtues. The central solo transports us elsewhere, and the flamenco rages like a gust of cold air, guys, we're talking about art here! At times, I could evoke Nick Drake duetting with Branduardi and Paco de Lucia.

"Frangar non Flectar..."

"At the Gates of Rigel" presents itself as a damned live track for moshing, the most immediate and also the most direct.
With a sustained mid-tempo, Malanoctem propels us into an astral journey with fantastic melodic guitars (Did someone say Maiden-like choirs live??? n.d.a.). The early Iron fuse with Dark Tranquillity, and the result is a masterpiece!
The apex is represented inevitably by the solo, here psychedelic and technically at high levels, breaking in three-quarters of the song and taking no prisoners. Asimov narrated by Van Halen. Even though musically we are in a completely different realm, I immediately thought of "Planet Caravan" by Black Sabbath in terms of the text and the atmospheres developed by the guitars.

"Eschatology!
Shape at the head of the cosmos
You Orion,
or you Hunter
Obscure Man
in the Winter Skies
Ascent to the Dream
of the Southern Nights"

The last piece on the record splendidly closes this small diamond and bears the title "From the Icy Waters." The initial doom atmosphere suggests something slow and dark, but soon this idea is swept away. An epic gallop à la Steve Harris breaks through with superb melodic lines, and the voice describes the coordinates to follow, thus Malanoctem unleash the final attack with a breathtaking refrain and celestial acoustic guitars. Abruzzo translated to music. I recall that here we have Augur Svafnir of Draugr as a guest, I need say no more.

When all is said and done, if "half the record" is like this, I can't imagine the full-length; we are probably witnessing yet another Italian reality that everyone will soon come to know and appreciate. Arrangements, high-level guitar riffs, a devastating rhythm section (listen to the bass work), and tasteful solos are the base upon which Antonio Pasquini's evocative voice and lyrics, which are true (oneiric) poems, spread. Probably, as happened to me, after a couple of days, you'll find yourself humming one of their tracks in the shower without even realizing it.

"Solima..."

Promoted with full marks and a mandatory purchase for all lovers of good music, metal or not.