The castle in the front cover artwork is influenced by real castles or fortified villas in Palata Pepoli, Finale Emilia, San Felice Sul Panaro, San Pietro In Elda and Torre Spada, all in bad shape.
Torre Spada is the one drawn on the back cover artwork.
Inside the booklet is the photo of Palata Pepoli's castle funeral chapel.

The country and mountain pictures were shot in Ravarino and Crevalcore. They were at the border of the Este Province and the Vatican State in the 19th century.

The black and white drawings are from the 'Almanacco dei Fasti Hesperiani', drawn by Feles Art (Eleonora).

There is ample diversity in the topics treated in this album.

The first track is in Modenese dialect and Italian matched with its translation in English by the side. It describes Emperor Julian's life, his ascent, the lustre he gave Rome again, and his murder by the one he admired, one of his Christian officers.

The second deals with Jesus's entry to Brussels. He sees indifference, he is being treated like any other person. The author sees overpopulation, infections, conformism, vandalism and further faults everywhere. Nature is raped and traditions are being swept away by massification.

The third is a hymn to Padania's beauty, its fog, its main river separating it from the pre-Alps. The ancestors of the peoples that inhabit it fought several battles for its freedom.

The fourth is about a winter night that brings death to everything, preparing the arrival of a new king (Samonios/Samhain/Halloween). Unlike the Celtic tradition that described 3 nights of late summer, the Germanic folklore talks 'winter nights'.

At first, I thought the fifth analyzed a black metal berserker waiting for his meal, but later I was told that it is actually a hate manifesto towards moderntimes by a warrior who is archaic and post-apocalyptical at the same time, also forged by Black Metal. While watching the modern world decadence he prepares himself to feast on the corpses of those who are responsible for that situation. They are sentenced to hanging from those ' so-called iron trees', that is the cranes that filled Padania with cement and asphalt. The quotes 'ghosts of forests hidden under the illusion of the Modern World' and 'adopted by his interior woods' are a reference to Ernst Jung's "Forest Passage".

The sixth is a homage to wolves, while the seventh has the last wolf on earth as a protagonist.

The eighth concerns an empty grave in an old forest where a being looking for a revenge came out from. The reference is to the guardian spirits of a Genius Loci (Elves, Lares, Spectres, etc.) here seen in a scary horrorific way.

The ninth regards rebirth after death.
This is the only track without words, there is only a description to express a concept.

Tribal drumwork opens "Iulianus Imperator", a ferocious Black Metal composition with diabolical vocals that begins with a mid-tempo, doomy keys in the background. Later on, a Thrash Metal riff paired with lively drumming give the song a faster rhythm, until the song slows down again. This contrast is repeated till the conclusion, where we hear the inception riff and the same kind of drumwork, soon fading out.

"Guera Eterna" is a longer track, started by nocturnal dreamy guitars and soft cymbal touches. After them, an abrasive louder riff arrives and old Northern Black Metal pattern sets in with another glacial mid-tempo. It is then time for the first blastbeat and next for an atmospherical mid.tempo enriched by vampiric keyboards sounds. The vocals vary from screams to tormented almost clean emissions, while the said mid-tempo continues. The blastbeat interrupts the singing and goes on for over a minute, until the mid-tempo we all expected comes back. Sadly, a brief interruption of any sound for half a second during the end of the track ruins the feeling that had been evoked so far. This is probably due to the fact that all of the tracks were recorded in a state of ad-libbing or semi-improvisation.

"Padanischer Walzer" is an even longer number, commenced by Gregorian chants. Successively, a Doomy half-distorted guitar and a very distorted constant far-away second guitar enter together with moaning vocals. This way the song captures the depressive mood one feels when in Padania in autumn or winter. In the last minute spectral or demonic whispers pop in before the song concludes with a final guitar stroke.

Those who are searching for ultra low-fi mostly fast virulent Black Metal with occasional epic mid-tempos should pay special attention to " 'na Not d'Inveran". The bass is absent, and the drums are so low-mixed that they are overwhelmed by the persistant guitar sounds.

Bagpipes and a ritualistic drumwork begin "Black Metal Berserker", quickly replaced by deafening excessively distorted guitars and wicked riffs. Here the drums and vocals are similar to early Beherit (with a few additional pig-like vocals), whilst the minimalistic axes are in the vein of Destroyer 666.

"Il Lupo" is simply based on a slow riff which vocals are early added on. That becomes more intense during the last seconds and then "Al Lov d'Inveran" kicks off. This piece is rapid raw Black Metal alternated with a mid-tempo, some wolf's howls and growls before L'Occ Dal Coruv recur to the fast structure again. A plain keys line is buried below in the mix for a while. In the end a mid-tempo with crow-like vocals closes this composition.

Distant faint noises open "La Tammba Vuda in T al Bosch Antigh", instants later reinforced by screams and an interlocutory riff. This precedes an evil mid-tempo, substituted twice by a blastbeat. A sudden breakdown steals the scene in a royal manner before the drummer launches himself on the nth blastbeat. A riff proceeds slowly, hand in hand with ghostly whispers almost to the closing instants. That's when the creepy sounds we listened to in the opening reappear.

"Sia Santa La Les dij Mort" utilizes an arpeggio and a few distorted guitar strokes which grow a bit more intense. Then, the distorted guitar goes on a riff mixed as loud as the acoustic guitar one for a great deal of minutes. War horns are used all of a sudden, and the distorted guitar stops; afterwards, only the acoustic guitar remains with malevolent whispers and moans from another dimension.

At the end of this track is the tenth composition, "Votan L'E' Nosch", lasting a tad more than 6 minutes. It is in the style of early Vinterriket, with the addition of thunder claps and rain drops until a sort of fierce Black Metal takes the spotlight by saturated sounds in the vein of Nuclear Death. Yet, the vocals are definitely Black Metal and a Black Metal blastbeat can be heard until it is faded out swiftly. Growls and Vinterriket keys lines terminate the song which speeds up at the very end.
Interestingly, this is the oldest track in L'Occ Dal Coruv's repertoire, dating back to 2003 when they were still active under the monicker Ravendark. The line-up was different, there was no bass and an electronic drumkit (not a drum machine) was used.

As there are no rare first pressings but just one release for all the copies, this album has no particular value of any sort but it is worth a listen and probably a purchase if you are fans of Bathory, Darkthrone, B]rz]m, Graveland, Vinterriket.