Nevermore
Dead Heart in a Dead World

THE REVIEW

 Bands that manage to string together a series of high-quality albums are a rare commodity, regardless of the musical genre, whether it ranges from classic rock to the most brutal version of metal. I believe Nevermore fully belongs to this select group: since their debut in the now distant 1995, rising from the ashes of Sanctuary, the Seattle band has maintained consistently high levels, releasing absolute masterpieces like "The Politics Of Ecstasy" and "Dreaming Neon Black". I believe the major virtue of Nevermore is their ability to add to the concept of extreme metal, often rich in dictates that verge on dogma (woe to those who violate them!), a particular taste: if in "TPOE" it was the executive violence accompanied by equal violence in terms of social invectives in the lyrics, and in "Dreaming.." the introspective search that bordered on philosophy and religion, in "Dead Heart In A Dead World" what stands out is the innovative drive, aimed at giving a more modern and contemporary feel to the concept of thrash metal.

 The album starts powerfully and decisively with "Narcosynthesis" and immediately one understands what I meant by innovative drive: the production is cleaner than in the past and the sound more compact, almost winking (but without going beyond) at the nu-metal phenomenon that was rampant in the year 2000 in the States; for the rest, they remain well anchored to tradition, riffs and solos are simply textbook-like. Another track following this path is the stunning "The River Dragon Has Come": sweet and dreamy beginning abruptly interrupted by a whirlwind fiercely railing against the stupidity that, according to the dark jester Warrel Dane, reigns supreme today.

 More similar to the classic Nevermore sound are "Inside Four Walls" and "Engines Of Hate": the first is a harsh criticism of the American system and the coercion to which it subjects the individual, the second stands out for the central part characterized by dizzying solos and earth-shaking riffs.

 The album then features three ballads (or semi-ballads as it is still Nevermore after all) "Evolution 169", "The Heart Collector" (perhaps a bit too smooth) and "Insignificant": all of excellent level although I personally prefer the first with its central time change and its fading ending...

 The gem is certainly the cover of Simon & Garfunkel's "The Sound Of Silence": from soft ballad to devastating and bone-crushing song, all without forcing: this also shows the value of a band (among other things, the limited edition of the album includes another cover "Love Bites" by Judas Priest, perfect as well).

 To close, we find the title track, five minutes that well describe the Nevermore world: dark pessimism, melancholy, anger, frustration that turn into a whirlwind of voice, guitars, bass, and drums; order and chaos walk together hand in hand.