•
Rating:
I must say that it was only at the last moment that I decided to go to the concert: firstly, unfortunately, there was the economic issue, as between the ticket, membership card, highway, and gas, it certainly wasn't painless; and then I must admit that even though right now I love this band with all my heart, I haven't been part of their church for very long. All doubts dispelled (especially with the participation of a good friend), I took the car and headed to the heart of the Padania and "celodurismo".
We arrived at Interzona around 8:45 PM, after aimlessly wandering inside Verona for about half an hour, witnessing a brawl between some somewhat colorful girls (as Calderoli might say?!) inside a bar where we stopped to ask for directions, and finally meeting two guys right outside the same bar who finally explained the way to get there. Once inside, you immediately get the membership card and pay for the ticket, but not before signing the waiver that exempts the cultural association Intezona from liability should the concert damage the hearing of participants, and especially before getting the ear plugs. Almost incredulous, or rather fascinated by this last point, I remember reading about it somewhere before, but mostly I recall the motto or maxim of Sunn O))) and Southern Lord: "Maximum Volume Yelds Maximum Results". Then I understand the connection and enter the hall.
The first to perform are Eagle Twin, the opening act for the entire European tour and also part of Greg Anderson's label: it's a duo, guitar and drums, certainly not lacking in creativity and power and with an undeniable sound impact (although earplugs are not needed yet). Regarding their music, the flyer said "death metal-rock", in my opinion somewhat inaccurately; one can definitely speak of sludgy riffs and interesting tempo changes. Either way, we witness the performance of a good band offering good music, not coincidentally recruited by Southern and worthy of being part of it.
In the meantime, what immediately catches the eye is the array of gigantic Sunn amplifiers lined up on stage, foretelling that hell will soon break loose, but also the sparse participation of the crowd, which numbers around a hundred people or slightly more, probably due to the recent performance at the Locomotiv in Bologna. Between performances I also look around, curious to see who the Sunn O))) fan is, and I discover I'm in the presence of a very heterogeneous audience, ranging from a forty-year-old metalhead to a twenty-year-old of color wearing a Wolves In The Throne Room t-shirt (also label mates), as if to say that the American band's appeal is quite broad. Especially catching my attention and my friend's for a few minutes is the striking resemblance we notice in a man who has just taken the stage with David Thomas of Pere Ubu; we then imagine, between laughs, what a potential collaboration between him and Sunn O))) might have been like.
I realize the performance is starting when the entire hall is engulfed in "artificial fog", thickly spread for about three minutes. I can't even see beyond three meters from where I am. But then, finally, the amplifiers are turned on: the adventure begins. Endless guitar and bass riffs are blasted at overwhelming volumes, it's like being crushed by a boulder or hit by a train at full speed. Gradually, silhouettes begin to emerge from the stage: if I didn't know I was at a Sunn O))) concert, I'd say I was in the underworld. The four are dressed in robes and strictly hooded, as if performing a rite or ceremony. Meanwhile, the vocal part also comes in, composed of the figure of the eclectic and immortal Attila Csihar, with Gregorian-style chants or even oriental ones, alternating throughout the performance with skillful screams and cries. The feelings experienced are of pure terror and strong discomfort, which instead of subsiding grow exponentially throughout the concert. It's a physically exhausting experience, as there's a tightness in the throat the entire time. "Monoliths & Dimensions" proves to be a meditative and spiritual album, but one that doesn't shy away from moments of pure desolation and anguish, as well as mysticism. Significant are the raised hands before the riffs by O'Malley and Anderson, demonstrative of all the attitude and power they managed to unleash during the seventy minutes of the entire live performance.
Coming home from the concert was like returning from a war, with all the wounds that entailed and the awareness of having participated in and witnessed something truly great.
Loading comments slowly
