
vote
6.5
- Band:
Inborn suffering - Duration: 00:56:54
- Available since: 07/02/2025
- Label:
-
Ardua Music
Streaming not yet available
For this 2025 the Death-doom exits, underbroker who gave more than a noteworthy job along the past year, continue without stopping for this 2025. Thus, after the Catalans Onophagus last month, the French inborn suffering, founded in the now distant 2002, but the authors so far only two works, the interesting “Wordless Hope” debut of 2006 and the discreet “Regression” To Nothingless ”of 2012.
Their sound system is firmly linked to the sound of the masters My Dying Bride and Anathema of the beginning of the career, at the dawn of this particular stylistic area; In particular, from the former they borrow a certain melodic taste, while from the latter a clear predilection for the soft and dilated atmospheres.
On closer inspection, the ace in the sleeve of the Parisians is precisely this ability to paint sumptuous musical scenarios, which emerge from their very long compositions, certainly not characterized by sparkling originality, but of undoubted class and consistency. This propensity could bring them closer to certain atmospheric metal of the last decades, if it were not that the general system remains strongly connected to the nineties; It is also to be underlined the will to rely mainly to the classic metal tools in the construction of these majestic sound landscapes, minimizing the interventions of synthesizer only; Therefore, most likely, the best label to describe their proposal turns out to be 'melodic death-doom'.
The new album “Pale Gray Monochrome” is very compact, without particular style falls; The first actual composition stand out-after a brief ambient introduction-“from Lowering Tides”, with an epic and enveloping knock and characterized by harmonious and solemn scores, the title-track, enhanced by spot on very keyboard interventions, and the final ” Drawing Circles “: simple, linear, of contained duration, 'only' seven minutes and a half minutes, with its semi -acoustic passages, the recited voice and the persuasive solo guitar is worth more than a thousand riffs and a hundred changes of time.
The very long “Tales from An Empty Shell” “, although kissed by exciting rhythmic guitar and solo players, is too unrelated to the structure. Considering the length of the compositions and consequently the variety of movements, ours manage all in all to remain fluid, not to lose the tenders of the skein, to remain consistent and intelligible, but the attention required to the listener is certainly consistent.
The voice offers the right variety passing easily from the deepest growl to the clean song, including some intermediate shades, the solo guitar, almost omnipresent, enriches and characterizes the compositions without being intrusive. The arrangements are very well cared for, the sound is adequate for the proposal, the performance of the individual instrumentalists absolutely impeccable, in their simplicity. Compared to the previous chapters there are no particular changes: the proposal remains substantially unchanged, if a greater care is excluded in the writing and registration process, in the expense, however, of the originality of the whole, which is, if possible, even less personal.
Of Death Metal, in truth, there is very little, almost nothing, if you exclude the song Growl, however the Plumbeo and magniloquent climate makes up for the lack of full -bodied guitar riffs and angry accelerations; You never have the feeling of being faced with an album too easy or light.
By summing up, the inborn suffering convince for the ability to authorize with authority a consolidated style that is now part of the metal tradition; An area that is at the turn of Black Sabbath and Pink Floyd, thinking in terms of first -rate influences, where slowness and harshness are mitigated by particular attention to the treatment of sound and arrangements.
The basic predictability combined with the delays inevitably drops the attention threshold, and, considering that the Parisians to the third album and above all to the twentieth and passes the year of artistic career do not intend to leave their comfort zone in the least, remaining in all for a whole one Gender bands, perhaps it would be appropriate for them to intervene at least on the prolixity of the compositions.
Let me be clear, it always remains a nice background musical, but to keep alive the interest of the listener would serve greater essentiality in the structure of the songs: we are convinced that this would not make them lose substance to their imposing musical creations and would also expand the spectrum of Possible recipients, who today can only be the only fans of the most atmospheric and canonical Death-doom.
Daniel D`Amico for SANREMO.FM