Novembre
Novembrine Waltz

A masterpiece of Italian metal.

There are no other words to describe this album by Novembre, one of my favorite bands ever, whom I have followed and am still following with great interest. The band from the capital city, led by brothers Giuseppe and Carmelo Orlando, is a true war machine, capable of delivering masterpiece after masterpiece with a creativity that is nothing short of inhuman. Like many, I consider two albums in particular as their masterpieces, "Classica" and "Novembrine Waltz": it was very difficult for me to choose just one to review, but in the end, this one from 2001 triumphed. I don't know why, they are both engaging and magical, but there is something special in this November waltz that attracts me. The album is the sum of everything Novembre plays: dark, prog, death, doom, folk, classical music, with the most diverse styles (growl, clean voice, scream) and outstanding technique, especially when it comes to guitars and drums. The album is a bittersweet journey, a long dance that is also a seesaw of emotions, from joy to love to despair and sadness.

If the opening "Distances" reflects the darker and more deathly aspect of the band, with the initially almost baritone voice (which so much reminds me of Ribeiro from Moonspell) that quickly transforms into a feral and violent scream. Over everything stretches the stunning guitar tapestry that shifts from crafting intense melodies to soothing them all of sudden multiple times, only to ultimately outline, in the end, "Il Lago Dei Cigni". Amidst this track lies much mastery in blending multiple genres and influences.

If at the end of "Distances" you find yourself enchanted, know that we are only at the beginning, and "Everasia" is about to arrive. The scent of the sea, of salt, of wood aged under the scorching sun, the sounds of ropes being pulled to hoist beautiful white sails: we are on a pirate ship, come aboard, heading "Everasia", pure sonic ecstasy. The beginning is dreamy, light guitars take us by the hand to the verse "issa oh oh issa!!", the ship sets sail, in front of us only the open sea, and the sailors singing pirate songs to boost their spirits engage in daring dances with an ancient flavor. The storm begins, the men are losing confidence, but the captain is there to spur them on: "men, do not give up, the mainland is there even if you cannot see it!!". Here come the sailors rising and fighting against the storm's fury, with only the memory of their love left on the other side of the sea in mind ("at the end of the lines only time to realize that one dies and time never stops/but for those who know how to rejoice, it’s lies to be ignored live always, never die"). The storm seems to calm, and alongside the ship appear the first dolphins to support the poor exhausted sailors. Suddenly, land in the distance: a new vigor pervades everyone, and as if just set sail again, they return to their positions, working more energetically and with renewed speed. The land gets closer and closer, the music changes pace and becomes more and more fast and engaging, culminating in a wonderful finale. The men reach the harbor safe and sound: "Everasia" is reached, let the dream continue.

How can one not be moved now in front of another beautiful November image, the pierrot perched on a cliff singing his subdued despair to the world. Extremely catchy track with a melancholic and dreamy pace, it only darkens at the end thanks to Orlando's feral growl. Please don't miss any guitar phrasing or the frantic drumming of this track, they are truly impeccable technical masterpieces etched into your heart.

A whisper of verses just stated with a soft voice and a single guitar accompaniment: it is the tender beginning of "Child Of Twilight", "how to go mad in a golden sea", reminiscences of old November songs, almost faded memories from time that immediately resurface with all their strength. The magical keyboards paint with warm pastel colors a sunset over a golden sea, then the song begins, a frenetic crescendo leading to a more desperate and wrenching death attack, and how far away seems the sweet and humble start of this track. Sublime.

A surprise: Kate Bush's "Cloudbusting" covered by Novembre (and with the voice of Third and The Mortal). A martial and almost battle-like pace, precise and omnipresent drumming, triumphant guitars, and keyboards covering everything with a bright musical cloak. This is the sweet and proud "Cloudbusting", to hear in all possible ways.

In a foggy meadow under the faint moonlight, "Flower" is being born, yet another masterpiece. Be moved, listening to the nocturnal-hued guitars and their arpeggios, and eagerly await the keyboard break halfway through the track. The guitars rise slowly with a rock-solid metal riff, then a pause reveals the real beating and living heart of this flower. A being fed by human emotions, a stunning organism whose petals each represent a different emotion, a corolla that altogether represents our life and all its contradictions. Lose yourself in the frenetic, angry, and melancholic ending of this track and you will fall in love with it.

The almost instrumental "Valentine (Almost An Instrumental)" is another journey, this time more cheerful and harmonious than the previous ones, a very complex song in its so technically varied and enchanting progression. The triumphant end of this album follows, entrusted to two heavy hitters. The decadent "Venezia Dismal" guides us by gondola through the canals of this baroque city, where we don't perceive so much the gold or the luxuries, but rather the soul of a classical city trying to remember its now irretrievable past. Sometimes it feels like hearing the Rondò Veneziano, but these are just the echoes and ghosts living in this city, proud when highlighting with all its force the past victories and honors. Superfast death attacks bring to mind the musical "Serenissima", and the ending is an engaging triumph that makes you close your eyes and daydream.

The dark and pseudo-doom paced "Conservatory Resonance" closes the album. Majestic and proudly classical, the track is structured through references to classical musical works. It seems to revisit ruins of ancient cities now non-existent, statues and busts of heroes now destroyed, brings to mind dechirichian temples scattered in the metaphysical valleys of memories, it is as if all classical antiquity here played its commemoration. The voice is the most powerful and sorrowful heard on the album, engaging and touching.

Here ends our November dance. The album is a tremendous masterpiece, the fruit of a band that only now (unfortunately) is beginning to be noticed even in their homeland. Get their entire discography, but above all, do not miss this album whose greatness and majesty are truly indescribable.

Ps: I apologize to StefanoHab if I posted, on the exact same day, 2 reviews made by him... the problem is that these are albums I relate to strongly, I just wanted to put down something about them... that's all! Regards