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Sancta Sanctorum - The shining darkness


(2010, Black Widow Records, Italy, 53.31)
01 The end is near
02 Black sun
03 Nothing left at all
04th Master of destruction
05th Desperate ways
06th When hopes are all gone
07th The soul of truth
08th Bread of tears
09th No expectations
10th When you die
Stefano Silvestri aka Steve Sylvester, formerly head of the esoteric Heavy Metal - and later meets Elektrogoth Glamhardrock cult band DEATH SS and high 70s Progfanatiker is arrived back where went off just over thirty years, the journey for him. Freed from narrow occult - esoteric corset of the (former?) Main band play he and his colleagues, including Danny Hughes (bass) and Thomas Hand Chaste (PAUL CHAIN, WITCH FIELD, percussion), two warriors of the first DEATH SS cast, an ethereal, leaden Doom, who has taken up purely phonetically the sinister Horrorattitüde early DEATH SS , but exceeds by psychedelic and playful, the 70s Heavyprog oriented passages and borders. The sound is perfect, of course, this year, literally bubbling and boiling in the pit, wavers like a black cloud of purple into your world. This music is very fresh and up to date, even with the forty-year legacy that she carries around with him. After the rather futuristic and creaking from the melody are inclined to run with "The end is near" Doombrecher a monstrous, marched across the one hand, wonderfully heavy and monolithic about you, on the other hand, can not deny a certain Grundeingängigkeit and even Hitqualitäten - something modern. DEATH SS peeping out from every note here, just in the Doomvariante. "Black sun" could be more "Mad messiah" by Steve Sylvester his solo album. A happy and colorful magic melody, haunting organ sounds, a wonderful pop song is finished in the late 60s, but with current celebrates freshness and power. Another gem in a vast collection of magnificent pieces. The following "Nothing left at all "it is again heavy and damned angry. It is less in the game Doom, but very massive, hard rock with great groovy, aggressive organs and even the demonic voice of the master. The gruff melodies arise here soon again a very coherent, captivating picture and give the piece Hitcharakter. DEATH SS are not too far away, but you notice that there were other musicians have a say, including Thomas Hand Chaste, whose gloomy - doomy WITCH FIELD project also had a compositional effect. It continues with lively stomping and prancing rhythms, monotonous rhythm guitars, spacey keyboards, and powerful lead guitar. In addition, the rusty Voice of Steve Sylvester, which brings in more earthy melodies. Here for my taste more of the space rock reigns as the Doom, heavy with no end it tears your soul from the body. Especially the Klangfreakout through the regular song structures towards the end of the piece is completely insane. "Master of Destruction" is the title of the piece. Mysterious it is in "Desperate Ways", a seething mix of 70s Heavy Psyche, Urdoom and horror music represented by this time not in permanent organ. The verse is still cautious. One senses, however, this almost unbearable tension, as would at once suggest to the events. The chorus booms massive, although it does not solve all the excitement, but this was deliberate seems. Proceeds of the section at the end is gone, let off steam where the lead guitar, where Sylvester on the structures very intense emotionally lacking, the instrumentation a boiling and steaming mud is sound. Once more the verse part is played, then it's over. The boys can play with very much, it is a pleasure to listen to the musicians to discover again and again beautiful subtleties, though it is really thundering hard rock, which we are served here. But they can, too gentle. "When all hopes are gone," suggests in his introduction, that here is a pain-filled ballad despair, but the Truth is still insane. Steve Sylvester border with a fervor his pain out how it's not used to the rhythms lurch around more like a waidwund been shot animal, the organ could have been played on a funeral and took off roaring distorted and effective overloaded guitar its chords. There is a passage with spacey synth effects on spoken word and guitar roar, then it goes back into this emotionally exalted Begräbnisdoom, with Steve here sounds very sad and spits out the lead guitar psychedelic runs over the slow pace of basic structure. A break, a pounding rhythm, the bass rumbles follows like a machine, the rasping guitar in the background, an angry Steve Sylvester about his anger out screaming in the background even spacey Synties. In other song would have to this as the old masters can be Hawkwind. The vocal line is short, the instruments drift nurmehr, then it's over. In "The soul of truth" first creates a huge sound of the organ, not gloomy, but more majestic. In the background, wordless male choruses are heard. Fracture. It grooves and rocks with a seriousness out of the speakers that there is no stopping. Distorted bass lines support as grandiose melodies, the guitars. They are thoroughly modern allusions, which show the listener to the time in which the Sancta Sanctorum are. This song is more modern stoner rock with very old soul and you really sucked into itself. Gruff and yet seductive, the band is here. Toward the end, there is even a more conciliatory again, dreamily moving River Passage. Fantastic. "Bread of Tears" is a short, groovy Acidrocker with utterly distorted guitar, vocal line and pumping mystical, hypnotic grooves that straighten up for the solo part a bit. Here is a gifted pop song is born, the only by the thunderous sounds, which in arrangement from the sources, is expected to miss the charts. 70's influences are quite obvious here, which begins with the gripping soulful vocal melody. And so slowly I'm on it. Steve Sylvester may have squinted back to his roots, but he's still a step further forward, meaning he has it all somehow linked to the weird and brilliant, very honest, friendly manner. Doomfanatiker Altfans and the band DEATH SS will have to take a lot of patience with this album. Lovers of Elektroheavyglamrockphase from DEATH SS could do to end down just as hard, maybe even harder, because the band here again ascends organic sounds and plays just with the old spirit. The fact is that every free-thinking heavy rockers will leave with a penchant for psychedelic and spacey sounds to this. "No expectations" is stomping heavy rock, of course, psychedelic, hypnotic, monolithic and typical for this bunch of musicians is an absolute hit. I would attribute the piece almost more of WITCH FIELD band, but that does not really matter, the meeting enlightened mind creates here a straight, sublime song that you go directly into the blood, deep in your lit a fire storm. The mangy wolf voice of Steve Sylvester and are sweetly fragrant of decay fantastic keyboards and organs. This is great pomp ascended acting actually, but the earthy production and this dreckeligen Doomrockriffs like lead weights, the song hold on the ground. And one is still in, right? A majestic dark Stampfer, who Who would have thought? BLACK SABBATH influences, so very old blues-rock to eerie trimmed dark, especially in the vocal line. This is absolutely fit for 70. The organ and morbid cries imploringly, as if we were at a funeral. Steve sings a little deeper, but less rusty voice. Bass and guitars roar infernal. The song you literally digs into all the senses. Sancta Sanctorum, as DEATH SS already tapping catchy, yet wonderfully weird and nihilistic. In "When you die," there are all trademarks of both bands together again. The lead guitar is great, burns from a firework that has washed himself. Tolle, eaten away by the insane solos on seething Klanglava. Space Rock Doom and become one. My name is Steve Sylvester and his new band welcome. The old and the young heroes of the Italian metal scene have proven to us that creativity lies in fact or in this country, quite apart from the neo-classical bombast rail. Tolle, surrealistic way to brightly colored, yet deeply sinister plate and a highlight for 2010 beyond the usual genre dogmas. And BLACK WIDOW RECORDS have also yet powerful at the wheel flat out, cut out the CD in the superb "Magipack" (Digi-containing) and the vinyl LP in two different colors. Great!

Sorority Crazy Stories

Abysmal Grief - Misfortune


(2010, Black Widow Records, Italy, 48.05)
01 Ignis Fatuus
02 Cadaver Devotion
03 Crypt of Horror
04th The Arrival of the Worm
05th The Knell accurse
06th Resurrecturis
Dark are the shells of death. And since the death of a main role in the spiritual world of the Rain Graves plays from the Italian port city of Genoa, is quite clear that his music is marked accordingly by darkness. Zines on the older EPs the band Abysmal Grief and her magnificent debut album from 2007.

forge After three long years, the Horrordoomer, which now present themselves as a real band, a new, very morbid long iron, located between Poland, the musical vault Rock and Doom, the latter by simmering the earthy variety. DC The opener "Ignis fatuus" sucks the inclined devotee darkest music deep into the abyss of damnation with a song that seems to come because of his deep and demonic documents directly from a damp, verwurmten tomb. In this case, however, are still in the throaty rumbling voice harmonies identify. The influence of the evocative Gothic Rocks the 80s is palpable. The old Fields of the Nephilim are greeting, though bring Abysmal Grief a different approach and much more minimalist than the playful, almost progressive British zuwerke go and relish on simple, but can let fluctuate spend effectively runs as if they were freshly risen from the grave.

The opener has a relaxed, yet driving groove and to offer in the solo part of troubled, boiling lead guitar. Second-placed "Cadaver devotion" sets yet sad at one and a half minutes in length and stomping rhythmically mesmerizing therefore seen as a ritual Urvolktanz, apart from the fawning passages pure Dooms. Are always omnipresent keyboards respectively organs. Played by the passionate support cylinder Labes C. Necrothytus, which also carries the responsibility for the eerie voice and has always been the charismatic face of the band coined.

A few steps on a path of sand and pebbles, the clatter of an iron gate, then you're in the "Crypt of Horror." A deliciously greasy organ weaves like a horror silent movies of the 20s a sweet-smelling of decay melody brutal, straight grooving riffs. In particular, again, sits with his fascinating Necrothytus vicious vocals. Of variety? Listen to me on. Abysmal Grief you want to cocoon, you will hypnotize your soul and suck, which they do with the cleverly repetitive staging of her plays, which brings in some way a significant catchiness with it. The Chembaloklänge in the rear portion of the song, which serve well instead of a guitar solo as an ornament, have been an expression of possession. They played brilliantly to remind to the old Abritte Progrockhelden and just where it did not lack in Italy in the '70s certainly.

A very dark, sacred organ melody and a horror movie synth running club on the opening of "The arrival of the worm, one of the shorter tracks here. This melody rolled forward, crossed from time to time by monotonous sounding bells. In Necrothytus starts after a while, muttering incantations. Who he would like to evoke as well, who will be this worm, which really do not want you to know. This is not quite Viereinhalbminüter remains on the completely demented organ - and synthesizer runs, set in the course more and more insanity each within its monotonous response. A church bell rings

with a thud "The Knell accurse" which again cut the sizzling the ultimate Doomgitarre distorted by recurring chords, in turn, share mysterious keyboards like the patina of many decades from their structures. Certain passages alternating keep the song interesting. It is and will remain an absolutely sinister Kultdoom and continuous, except for wordless rumbling and groaning in the background instrumental. The heavy riffs and macabre organ melodies carry the song. A prototypical Doomsolo with rolling notes, a plaintive wailing guitar snatched burns and cuts you free your senses. Travel is recorded at the end of the play out is the last one and a half minutes, it even rolling double bass drums. Confusing bells game will not only my face, but equally derail all of my senses. Wow ...

climax of this horror music orgy is then at thirteen minutes, "Resurrecturis" the ejector. The riffs are typical of most Doom on them are conjuring sublime gloomy organs. Then again Necrothytus comes with his rumbling voice grave and shows could sound like the merger of BLACK SABBATH and the Fields of the Nephilim. A glorious end for a safe away from all mainstream genre conventions and all dogmas of the true Dooms-lying, large Album charisma. As a horror lover one is getting out about this little disc. The future belongs Doomunderground because of their cross-member Gothic / Doom Kreuzerei this band. After taking nearly half of all Time Abysmal Grief metallic weight of the piece and leave a monotonous bass rumble, wind noise and can use it two minutes on it again great hit.

For daring Doomverfechter dealing with a deep, rumbling and can make friends but harmonious voice. I would like to reiterate that Abysmal Grief Although deal very strongly with death, this is also a very spiritual way, but Black Metal and the like with anything have to do. Its symbolism is Christian dominated throughout, even if one takes here often a questioning position. All in all a terrific hybrid of Doom and 80's Gothic Rock of the darkest kind. I am a big fan