Roman band revealed itself to the big audience with the fairly good
"Criteria ov 666", and now after 2 years it's time
for the 3rd release, presenting a more precise songwriting and the new
songster Alan Nemtheanga from Primordial, able to sing in several different
manners and styles, as explained in details below.
The 20-minute title
track is split in 3 parts; it's mainly industrial doom metal with recitative
vocals in the beginning, then you have a sinister arpeggio with far
vocals and noises; evocative vocals follow, and afterwards a Christian
church arpeggio; suddenly a change: whispered menacing vocals and noises
preceding distorted guitars and black screams. Of course the 3 piece
likes pattern modifications, so you get a dose of Industrial noise-drones
with preacher-like vocals; the riff becomes tight together with some
piano and keyboards notes in the background.
Wicked vocals can now only lead to threatening riffs, mitigated by an
arpeggio with claimings calling children to war. Like most compositions
by Void of Silence, this one doesn't escape from the rule of alternating
and opposing melody and dark apocalyptical power elements with an ineffable
finalè in crescendo and some vocals reminescent of the latest
On the same co-ordinates is "Grey Horizon (M.P.H. MMIV)",
industrial metal with clean vocals a là Vintersorg, therefore
a winterly track, drenched in negativity and passion with rocking keyboards.
A wonderful song out of time.
After the short intermezzo of "Untitled", made of church
choruses, come the almost 12 minutes composing "To a Sickly
Child"; deadly tolls accompany us to a sudden and deafening
burst; death vocals, later clean and even aulic. Nobody will deny some
passages here are very gloomy and as though it weren't enough the band
decide to add a few black vocals on a desperate text.
As the title "Dark Static Moments" suggests, be prepared
for another monolithic suite (more than 15 minutes), even if the definition
of cold and disturbing nightmare looks more appropriate; there're some
fascist vocal streams in Italian mixed with Alan's. I repute this to
be the best arranged of the 6 tracks, and I also noticed some nice freezing
keyboards deign of Lucio Fulci's flick soundtracks, while simply yearning
are the next screams. Frightening noises, throat emissions, laughings,
an eerie riffing perfectly fit one another; a work composed in (rightly)
maniacal craft with the guest vocalist throning on a huge wall of sound,
in which only a dim light seems to give a looming hint of hope.
The closure is entrusted to "CXVIII", an arpeggio,
some Bible words regarding the Armageddon sung by Tronus Abyss's Atratus,
which is the 118th poetry of Charles Baudelaire taken from "Le fleur
du mal" called "The disown of S. Peter"; an outro rife with
synth noises completing the work, definitely quite impressive.
If you still don't know Riccardo Conforti's works, this is the best
way to start approaching his musical mind-set to later get to his older
albums; those who already know the proposal of Void of Silence, should
love their new effort without any doubt.
MARKUS GANZHERRLICH - 4/4/04