REVIEWS
January 2006
CANAAN (ITA)- "The Unsaid Words" CD'06
(16 tracks, 71. 17 min)(EIBON)
Another band that tickles my fancy! It has a special place in my heart ever since the Italians have released their excellent project RAS ALGETHI, more then ten years ago. That was followed by four other albums under CANAAN name; the first was brilliant, the next ones were above the average and now, in 2006, a new chapter has been opened! I've always been severe with the bands I care about and tolerant with all the rest. In what concerns this particular CANAAN last product, I can only be upset with the simplicity of the sound and of the way in which the instruments are used. Better said, after you listen to the album several times, you will probably consider that the sound is a rather synthetic one, too computerized, without any effects or mistakes that could bring life and soul to the tracks. Still, this aspect can be overlooked in comparison with the atmosphere that the spectacular tracks manage to create. If they are Dark, Wave, Experimental, Goth or Melancholic - only you can be the judge of that! Concerning the inspirational side, this last album seems comparable with the first one, but regarding the impact or the general impression, I'd say it is slightly under the debute. Although the "pain, desolate and solitude" aura seems to be at ease, the guest voice of Gianni (COLLOQUIO) initiates a lighter dimension, maybe also a little more commercial and tangible (but yet sad) one, which, in my opinion, doesn't always complete the CANAAN atmosphere. For instance, the memorable and outstanding track "Never Again" stands as a proof of what I have just said. As usual, we can uncover the alternation of melodical tracks, revealing both lyrics and vocals, with others that are simple ambiental interludes; among these, we can find some interesting tracks (check the superb "Sterile" or "Fragment #2", with sonorities that remind me of ITW...), while others are nothing more than noises, expressed in a Dark form. We witness tracks in Italian and English, each language having its own charm on the CANAAN stave ... although it seems that the Italian ones lack the roughness and enhance the melancholical feature! "Fragile" reminds me the elevating sound of Doom Metal RAS ALGETHI project, while the guitar scratchings from the "In a Never Fading Illusion" make me think about several Italian Rock musicians. The keyboard represents again the key element of the sound and, together with the guitars, it guides the way to this CANAAN universe: Nothing, Never, Nowhere... "The Unsaid Words" is probably the most melodical, beautiful and comprehensive track; it brings up the memory of the unforgetable "Blue Fire", in which the vocals play a very important part, especially because they are louder, more stressed (not just sung) and excellently sincronized with the instruments. The most complex, evolved and truely unbelieveble is the last track: "Nothing Left (to share)" - it could be viewed as a farewell message; in about 7 minutes, the five artists demonstrate us once again that the CANAAN realm cannot be limited in any pattern. The title and the cover are fully inspired and so are the tracks, everything is elegant, majestic, slow and mournful ... meaning CANAAN! And when I come to think that there were rumours a couple of years ago about the desintegration of the band!
TENHI (FIN)- "Maaaet" CD'06
(12 tracks, 60. 18 min)(PROPHECY)
After an excellent debute and an interesting MCD, Tyko, Ilmari and Ilkka conceive a second material, less comprehensive, rather experimental, surely unrelishable to Folk/Traditional Music fans. After a way too long period of time, the three make a striking return with more than one hour of Folk/Progressive music, sung in Finnish, containing 12 complex and charming distinctive tracks! Many are in a hurry to compare "Kauan" and "Maaaet". If I was to follow this direction, I could say that the last one is more sophisticated, focused on the vocal part and revealing a very strange melodical line; it is loomed by some extreme simple, but yet powerful, acoustic guitars, the piano is almost identical to the HARMAA one, a particularly grave bass intensify the sound and we can also sense several constructive and rapturing percutional effects. The vocals are extremely distant, calm, sorrowful and depressing, as the entire atmosphere! If I was to turn myself to the past, then I could say that "Kauan" is the most melodic and striking album, "Vare" a less comprehensive one, while "Maaaet" represents Tenhi's bleakest and most wintry sound! If I tried to analyze the album by another reference point, I would have to admit that I couldn't find any other band with a similar sound. I hardly waited for the release of the album and I firmly believe it was worthed! Still, there is an important question going through my mind, raised from the complete lack of musical vividness, so that the final sound sometimes seems glacial, apathetic and dispirited. One over the other, it's a hell of an album, original and instrospective, in which the extravert signals are hardly spotted; this feature is not one of the strong points that can promote the new TENHI album in the top. Though, it will be a soul album to those understanding the dynamics and the dimension of the Finish! An excellent material for 2006!
DECADENCE (GRE)- "Where Do Broken Hearts Go?" CD'05
(10 tracks, 47. 19 min)(CMI)
I was about to say that this debute shocked me to the bottom, when Petros, the leader of this Hellenic project, explained to me that, in spite of the fact that this is only the first album released by CMI, it is yet the fourth of DECADENCE's releases. That's life, quality music passes by my ears with such a speed that I can't even keep track of it! The three Hellens reveal us a fragile mix of Neo-Classical and Neo-Folk, intricated with some Romantic Dark Wave echoes, military rhythms and staggering Ambient/Industrial effects! There are several features that reminded me about DVKE, GRABESMOND or PAZUZU, especially concerning the approach, rather than the sound! Cold, cynic and clear masculine vocals, completed by a timid and innocent (sometimes almost puerile) feminine one, all brought together in a wistfull atmosphere generated by guitars and keyboard! More industrial than DVKE, but still the most melodic and romantic Industrial/Ambient/Neo - Folk project ever released by CMI, DECADENCE strikes with this album; and even though we cannot always perceive that powerful energy of interpreting (the sound being rather a light one), we cannot overlook a masterpiece of the genre! I sincerely recommend this album to all of you trusting my musical radar! As for the others, however cautious, analythic and unwistful they might be, I only suggest to arm themselves with a lot of patience and tabacco for almost 50 minutes of brightly conceived and played music!
DORNENREICH (AUT)- "Hexenwind" CD'05
(5 tracks, 42. 59 min)(PROPHECY)
Do you desire an invitation in a mystic, gloomy and hypnotic journey? No more Dark or Black Metal! The Austrians' new Experimental Metal style doesn't bring up anything of the from previous albums, it all sounds different...it is, if you want a post apocalyptic Folk, rooted in underground Black Metal! The sound is specific, original, saturated in (iberical style) guitar riffs, but also rapturing acoustic passages, aggressive masculine vocals, intricated with whispered ones ... all put together in a rather slow rythm, bringing to my mind some other Austrian bands like ANGIZIA or KOROVA. I would rather characterize it as an avantgarde SOL INVICTUS or DEATH IN JUNE sound, conceived on a Metal structure! The conceptual focus on nature theme reminds me of EMPYRIUM! As all the lyrics are in German, DORNENREICH's musical feature is now harder to be confounded and all this moreover bring a note of originality and elegance! Slightly melancholic, a bit Metal, a grain of Experimental, some Folk, slightly German...all those conceive the new DORNENREICH sound! Keep close to this interesting project!
HELRUNAR (GER)- "Frostnacht" CD'05
(10 tracks, 52. 11 min)(LUPUS LOUNGE)
Nothing special, even if it is Black Metal! Risking to be criticized by the most fearful fans of the genre, I want to tell you that this project doesn't bring any new feature, not even a single grain of originality! It all sounds in the Norwegian Black Metal manner, including the gasping vocal, except for the lyrics in German! I couldn't find any keyboard tracks, so it becomes certain that the Germans are the continuators of the primitive Black style, based on guitar riffs and vituosity which also remind me of Thrash. That's all it is. Still, modest!
KATATONIA (SWE)- "The Great Cold Distance" CD'06
(12 tracks)(PEACEVILLE)
Each time I pronounce or write the name of these Swedish I cannot but shiver down my spine! Why? Because "Dance Of The December Souls" continues to leave a mark on my existence and, even though it triggers the bitter taste of a commercial touch ever since the release of it, "Brave, Murder, Day" remains a collection album! Nevertheless, let's concentrate upon the present! KATATONIA continues the direction of the previous album, in which the mixture of Rock, Goth and Pop/Alternative is essential, maybe revigorated now by more stressed tendencies towards Progressive! Still, they are so far away from OPETH! Even though the vocal sounds perfectly, I can't distinguish any trace of roughness, of extreme Metal, of wrath... Everything is atmospherical, rhythmic, with a variety of successful and inspired tempo breakings, with guitar solos and Heavy riffs...all presented in an outrageous commercial manner. This is a perfect album for claiming the first positions in the tops, for tour promotions, for raising the adrenaline, ultimately for fun! But not at all fit for insight, for solitary and unique introspection! I cannot help myself insisting upon the exquisite rendition and production, which sets apart the album as a collection piece for the music fans! I listened to it several times, but, honestly, this Pop/Rock/Goth style with shy and cautious Extreme Metal reminiscences doesn't satisfy me, despite the Dark dimension meant to enhance the whole sound! I definitely prefer the beginning of KATATONIA's history! Just as I do in the PARADISE LOST's case! Of course, I am subjective and extremely severe with a band I tremendously care about! To many of you the album may seem a bomb, a masterpiece! It will probably earn the success it deserves, financially speaking too! I wonder what happened with the depressing and sad underground aura, so obvious in the history of KATATONIA legend?
NOEKK (GER)- "The Water Sprite" CD'05
(7 tracks, 46. 23 min)(PROPHECY)
Ex - EMPYRIUM decided to take their project to another dimension, so that, under a new brand, they are presenting a Progressive Rock from the 70's, rather experimental and, but still revealing some Metal shadows! Markus's voice and some keyboard effects remind me about EMPYRIUM, but the entire structure is now transformed, so that is why it's rather difficult for me to characterize it. It is obvious that nature remains the main inspiration theme for the two, but from this start point to the one NOEKK aspires to reach there is a gap difficult to comprehend as far as I'm concerned! I really enjoyed listening to the album, that conceives a certain mysterious charm and attraction. DEAD CAN DANCE cover-version, "How Fortunate The Man With None", is also excellently interpreted in a NOEKK style! Stick your ears to this project!
THE VISION BLEAK (GER)- "Carpathia" CD'05
(8 tracks, 41. 56 min)(PROPHECY)
This is Markus Stock's second album on this Horror Dark Gothic Metal project and it certainly is more elaborated and complex than the tedious debute! Honestly, the sound is still a confusing one! The keyboard is uplifting, highly sensible played, mannaging to create an unique atmospherical state! We can find extremely solicitated, even explosive guitars, and the rhythm is quite obvious, both bombastic and dynamic. The vocal seems rather unnatural to me, because of the low tonality even though the intention itself is quite inspired! The whole album generates a tremendous energy, the sound is a complete one, intricated in the background with masculine vocals, feminine chorus, oriental acoustic ingrediends...damn brightly conceived! An album saturated in dynamics, atmosphere, but yet rather pale regarding both the idea and the perception! I remember that Markus (still EMPYRIUM back than) told me, in an interview he gave for Kogaionon #5, that his father owned a land somewhere in the mountain area of Transylvania. That is probably the main source of inspiration for this album's theme, includingly its title. As usual, the album's design is a quality one, bringing significant added value to the potential buyer. Concluding, a slightly above average material, even though its original idea and concept could have brought it far beyond this final result!
