vote
8.5
According to the foundations of western philosophical doctrines, Platonic dualism proposes a division between the world of ideas, eternal and immutable, and the sensitive, imperfect and changing world. By transporting this concept to the musical world, especially to the unsettling proposal of the Noise Trail Immersion, this distinction takes on a particularly pregnant value, full of meanings that find in “all death in one point” their best reason for being.
If with the previous “Curia”, in fact, ours returned by law in the first category, the new album adds a strong physical component, we could say 'carnal' to the whole, throwing its music into the chaotic and imperfect world of the senses and sensations, especially of pain. Where the old work hit the head, the latest record effort expressly aims to the listener's stomach, trying to transmit the complex and opposite currents to music that animate the darkest ravines of the human soul.
To do this, we still use a deduced, shabby post-blue metal metal, heavily contaminated by Death Metal and Mathcore drifts that enclose in forty minutes, the long journey crossed by the band in his twelve years of career. The most spiritual attitude of “Curia”, today merges to the desperate nature of the most dated works, in an emotional climax with an almost unsustainable intensity.
We do not want the readers, but we find completely superfluous, not to say harmful, try to describe separately the songs that make up the album: the devastating fury of the noise trail immersion fans from one song to another without a solution of continuity, allowing us to distinguish three different macro-parts in which to divide the work: the first, from the open ” Show “, undoubtedly presents the most funmbolic scores of the album, an extensive flow of musical consciousness perpetually hovering between chaos, melody and dissonance, according to crazy arrangements and absurd rhythmic solutions that envelop and tighten between the penetrating shirts of the songs.
“Dream in its own right”, thanks to its unhealthy clean arpeggios, is configured as a significant unicum, before moving on to the third part which, as a “cradle and coffin” onwards, will take us to the end of the tortuous path represented by the spectacular titletrack. In this section, the playing seems to take on slightly more 'linear' connotations, at least on a metric level, letting explode the suggestive emotional power of a bars and cathartic guitar work.
We arrive at the end of the esangual path, extended, but incredibly enriched on an emotional level. Starting from grammars known by a few (Deathspell Omega and ulcerates are certainly the first names that come to mind), the noise trail immersion now develop a completely personal, authoritarian language, with a debutant complexity, yet so explicit and directed in the transmission of feelings of discomfort and perdition, ancestral human feelings rarely faced with such a precise competence and narration.
“All death in one point” will never be discovered entirely for what it is, and it is precisely the strong degree of unknown to it inherent to making it an abysmal, enormous, in some ways infinite work.
Daniel D`Amico for SANREMO.FM
