Nero Kane
For the Love, the Death and the Poetry

With For the Love, the Death and the Poetry, Nero Kane delivers his fourth studio album, a dense and atmospheric work that confirms the artistic identity of the Milanese singer-songwriter, now well-established on the international scene somewhere between dark folk, ritual psychedelia, and gothic songwriting.

Created in collaboration with multidisciplinary artist Samantha Stella, Kane’s long-term partner in sonic and visual projects, the album presents itself as a secular liturgy suspended between mysticism, introspection, and apocalyptic vision.

The very title For the Love, the Death and the Poetry is a statement of intent: not simply a collection of tracks, but a conceptual work that delves into the opposing poles of existence. Love and death, beauty and pain, spirituality and matter alternate in a musical narration that unfolds like a slow, hypnotic procession, marked by Kane’s deep, scorched voice and Stella’s ethereal, chant-like recitatives.

The production is essential yet refined: dark, minimal guitars, mellotron lines, drones, touches of organ and string sections construct a bare and ritual soundscape, profoundly evocative, suspended somewhere between the American deserts and the abandoned churches and cemeteries of European gothic.

It’s impossible not to notice the echoes of key figures in apocalyptic folk and dark songwriting: Michael Gira, Nick Cave, Johnny Cash, but also the esoteric visions of Jodorowsky and the tradition of Italian occult psychedelia. I would also add some of John Taverner’s works. Yet Kane’s identity never gets lost in devotional homage: what emerges is a personal, spiritual, and coherent voice, moving with authenticity through the domains of suffering transformed into art.

Imagine finding yourself in a deserted procession for the living, goth-folk style, in search of a lost faith.

The record opens with As an Angel’s Voice, a mystical and contemplative track, already released as the first single accompanied by a visionary video clip. Accompanied by a guitar that rings like a funeral. Intense moments follow, such as the existential blues of My Pain Will Come Back to You, the droning and menacing atmospheres of Until the Light of Heaven Comes, the shamanic ceremonies of Unto Thee Oh Lord, and the dusky ballads like There is No End.

Each track is a piece in a dark-tinted mosaic, where the sound component is intertwined with the visual and poetic, in a constant dialogue between sound and silence, word and vision.

It’s a mature and visionary work, capable of deeply engaging the listener willing to abandon themselves to its slow rhythms, its oppressive yet tension-filled silences, and its dark, secular spirituality. A work that transcends the boundaries of genre to become a cathartic, immersive, almost liturgical experience.

An album that is not just heard: it is lived, and it digs deep inside each of us with its morbid allure.