OM
God Is Good

If you were to ask about the existence of God, what words might ever come out of your mouth?

Swear words most likely, rhetorical figures to entrust to the acrid and dirty smell of the condensation on a beer glass, placed on the table of some pub forgotten by anyone, even God himself. You would be careful not to speak well of it, and perhaps, you wouldn't even be wrong to do so; however, undeniably, deep down in that mass of rust that is heart and pride, you would feel the usual immortal sensation: fear. Indeed, Terror.

Of what?

Of the fact that in this ball of rock spat on the dark gulfs of the universe, Chaos reigns supreme.

And that you, as much as me, cannot do anything about it. Whether you like it or not.

From these concepts, I rightly begin, therefore, to say that Al Cisneros is a person who deserves respect. And I don't say it for nothing. Let's put it this way: it's one thing to invent from scratch twenty years ago, a genre that has saved the lives of countless people, and maybe you could live off it for millennia Reichen; it's quite another, however, to send money, fame, and the predictable "joys" (?) of notoriety to hell, to continue the search for a lifetime, begun with the forgotten and forgetful Asbesthos Death, and filtered as well as passed through the much-copied and wonderful Sleep. For this reason, people like Al Cisneros, in these pestiferous times, deserve a black basalt statue to be venerated.

God, Al Cisneros, and Om, are all that, then, by virtue of the questions I have posed to myself, you will find within the desolate desert lands of "God Is Good", a new effort brought to light, particularly revolutionary in the monolithic discography of the sons of the aum infinite. And I will reveal more to you: what you will find, most likely, once and for all will eliminate en masse all those people who dare not let their hair down and go crazy in honor of the "absurd" without distortions. And I really do not think I am wrong about that.

Let's move on to the album: "Thebes" (19:09 minutes) is what you would never expect. Because it is the spiritually newly-fabricated guiding line that makes Om increasingly close to touching God with a finger. Bordering the most sacred of mysterious rites, the piece is an aerial ride of Palestine that each of us carries from the days of catechism, where nothing or no one can prevent shivers of fright from being generated due to the impression that assails us when realizing we are traveling on a route towards before Christ. The voice, subdued and psalmic, is what surprises me the most this time, not to mention the musical structure, carefully curated and refined, as never before in the duo's most famous works. "Meditation Is The Practice Of Death" (6:52) is instead pure ceremonial music, intent on celebrating the infinite of the cosmos and spirit, even more plausibly thanks to the addition of arcane cabalistic flutes, to entrust oneself to liberate mind, body, eyes, and ears. Pure ecstasy. "Cremation Ghat I" and "Cremation Ghat II" are, contrary to the first two tracks, an immediate example of how one can manage to encapsulate in a few minutes, the talent of masterfully mixing pre-Hebraic ritualism with the occult and silent sound of the bass rhythmically driven and pushed by prophetic strikes of soft and wild percussion like never perceived before.

This time, I must admit it: for being only 4 tracks, it is a mature, deep, introspective, mysterious and Egyptian work at the same time.

As for the rest, I don't believe that God is truly good as the two try to communicate to us in this album; however, almost certainly, with them, he has been. So let this CD express with grace, elegance, and depth, a concept whose pursuit I believe to be dutiful and precious: the peace of all senses and the mind.

A CD you will not easily forget.

In good times, or bad.