vote
7.0
- Band:
Eyakaran - Duration: 00:47:35
- Available since: 07/03/2025
- Label:
-
My Kingdom Music
Streaming not yet available
In 2022, after twenty-four years and five discs, we had received the news of the dissolution of one of the most revolutionary realities of the Italian metal panorama: the felsinei in tormented quiet were in fact a meeting between the alternatives, the avant-gonds and the extreme metal and albums such as “Teatroeleleteral”, “Crome” and the last gem “Krononota” are something difficult to describe, but without a doubt, discover at every listening.
Here, if it is true that this magic had interrupted three years ago, it had to be equally written in history that, when there are several ways and needs to bring out ideas and messages, a new creature would have found the path of birth. Or rebirth, given that three members of the Bolognese group, together with the bassist of the Batsalsa Experience (a post-punk group), created the Edykaran and with it they set up the “Pantheon” debut.
This project tells the evolution of man as a musical journey or, better, as an allegorical story, in which one wonders what makes such the human being and, starting with the creator of everything, as four of his creations (love, hunting, war) are worthy or not to live.
Taking post-rock atmospheres full hands in the manner of God is an astronaut of the period of “The End of the Beginning” and post-Metal of milestones such as the “Oceanic” of the ISIS, as well as breaking through imaginary walls and ending in cult territories of Luna and in the Air-August of the Arcurus, the quartet stages ten songs, of which seven are instrumental and three with parts and three with parts and three of which are seven. 'Cantati': they are interpreted somewhat out of the patterns, given that in the “war” the text is transmitted in an angry screams by the interpreter Marco Beccati (with recited parts of the guitarist Fingerstyle Simone Lanzoni), in the “fourth step” gorghe with arabeggiant shades by Irene Petitto (who also acts in “art”, where we find an almost rap of the of the AnimaE locus).
In the other songs, repeated sounds are the master every time with some different shades and additions of effects, as in the successful “love”, where the guitar of Lorenzo Rinaldi starts with an agreement, then the keyboard of Antonio Ricco is inserted, more aimed at electronics, and finally the granite bass of Matteo Meli bursts with the battery of Francesco Paparella to underline the crescendo typical of a lot of emotional composition of the genre of the genre. post-rock/kinematic.
These are the most complete songs, those that are articulated between sound hypnotisms and airy openings, as in “hunting”, which remain more impressed, while the prologue and the conclusion (“alpha” and “omega”) and the interludes (called 'steps') flow away (perhaps a little too much) quick even for their short duration.
Mention separately for the heavy “war”, with a text that drips anger and that lives in the sounds of the first ulver and their bare metal twilight. Definitely this “pantheon” of Edyakaran is a good return to the scenes for this new representation that comes from the ashes of the tormented quiet and makes us feel flashes of curious musical fantasy.
Daniel D`Amico for SANREMO.FM
