Necrodeath
Draculea

Air of total changes for the Genoese thrash/death metal band which, unlike previous works such as "Ton(e)s Of Hate" and "100% Hell", has decided to open doors it had never allowed itself to cross before. As they have accustomed us to since they formed as a band, the new "Draculea" (a concept album dedicated exclusively to the legendary figure of Vlad Tepes) sees the Ligurians as protagonists who, aware of what they were getting into, and although the Necrodeath trademark is still very recognizable, have made the decision to explore sonic shores that no one would have ever thought possible (including myself). Certainly, no one will ever forget how important this historic band has been in uncompromisingly proposing that blend of executive speed and intransigence that has never made them prisoners. If we want to draw a bold comparison, this "Draculea" might be the perfect imperfect copy of the evil and historic "South Of Heaven" by Slayer, whose shadow, let's face it, has always hovered slyly over the works of Peso and company. Therefore, space is given to reveal, without beating around the bush too much, the truth hidden behind this long veil. For the first time in history, with this latest work, the Necrodeath have proposed tracks rich in atmosphere and with more slowdowns than in the past. "Smell Of Blood" and "Party In Tirgoviste" speak magnificently in this sense and for these purposes, two pieces that make use of cadenced rhythms and guitar riffs by Pier Gonella that weave dark and sophisticated melodies. Going slightly back, it would be very important to mention the instrumental "V.T. 1431", in which the atmosphere becomes nothing short of unsettling and almost dreamlike; particularly noteworthy is the combination with the Romanian language which, for the occasion and also in the last track, replaces the Latin inserts that have always characterized the previous compositions of the Genoese band.

What leaves one puzzled, however, is the excessive length of some songs, especially "The Golden Cup" (where the listener often feels compelled to skip to the next song), but also "Fragments Of Insanity" and "Party In Tirgoviste", songs whose good potential is lost among awkward passages and riffs repeated insistently and for too long. V.T. 1476, a piece mixed with that Dionysian-Apollonian element Nietzsche spoke of, with a fresh gothic flavor in which, with the impromptu participation of the leader of the Apulian gothic band Godyva, a sort of well-achieved contrast was created in the Genoese's attempt to conclude this work in the best possible way, if not almost majestically (this is actually not the case).

A special mention goes to "Countess Bathory", a legendary cover of the historic Venom, a band that Necrodeath has always cited among their greatest preferences and consequently influences. A cover that neither subtracts nor adds depth to the album, but remains a well-executed piece characterized, like the rest of the album, by a production that is not excellent, however.

According to my point of view, this album seems more like a transition work than a definitive maturation of the new Necrodeath. For better or worse, the Ligurian band has ventured for the first time in its history to cross boundaries that it had never set as a goal. I can't even tell you with certainty if they will lose their good old fans or gain new ones... we'll definitely see in a few months.