The Sicilian darkmetal quartet Eversin release the LP Armageddon Genesi on the 29th.
A roughly three quarters of an hour nine track album (available through My Kingdom Music) which is able to combine both a dramatic thread of leathery melodies with intense pressured thrash metal and thereby creating space for themselves to invite the listener to fully inspect the rivets of the release – Soulgrinder is the fourth song.
From Agrigento in Sicily coalesce John Distefano (Bass / Backing Vocals), Gloria Dante (Drums / Backing Vocals / Ukulele / Tambourine / Congas), Gregorio Scozzari (Guitar) and Lillo Morreale (Vocals / Guitar / Synth / Violin / Glockenspiel) to form the dream-rock band Good Morning Finch.
Good Morning Finch
Tumbling out of the speakers Good Morning Finch deliver a munificence of layers that swirls around the brain in an ever engaging wall of texture. The dreamy notes spin into eternity as flows of ideas in mesmeric transitions of soundscapes. The output finds the listener one moment transfixed by tremors of pulsating bass notes, the next by upper registers of alertness as the quartet beguile the ears with tempting fruit.
Whilst the material plays well with recorded material, as a regular reader, you will know, I wonder of the transition betwixt studio and stage, where the real craft is on display. With players in charge of numerous instruments I am not sure how this would work.
Whilst I can ask you to give a moment of your time to recorded pieces, which have a darkly resonating resonance in to which to lay the ears, I am not as convinced as a live band Good Morning Finch can approximate recordings and this is my only caveat to a sound awash with texture which engages the mind.
DISASTERHATE from Catania in Sicily is the the thrash metal quartet of Reitia (Vocal / Guitar), Klaudia (Vocal / Guitar), Rise (Bass) and Dani (Drums).
Scouring chunks out of the speakers DISASTERHATE hurtle in to the room armed with raised axes which are hurled across the threshold in a flurry akin to 12 on the Beaufort scale.
I am minded of the shadow of the ever rumbling Mount Etna below which the quartet are based and perhaps it is from that continual keg of explosive energy and harnessed rumblings that they feed their own creativity.
The herculean projections nonetheless have a mythical beauty about them as the quartet are able to able to harness the furious wave of sound and provide the audience with pieces of music that are impressive for their sonic confluence as DISASTERHATE are able to extrapolate mutual cohesiveness from loudness and speed for the sake of it, as a fast accelerating car does with all four wheels driving the vehicle forward, not spinning needless rubber onto the tarmacadam.
The constituent parts of DISASTERHATE perform as an optimum unit and all the listener has to do is, turn the volume to ten then give it a shove to a higher notch, the band will take care of the rest.
A new LP – the nine track Mirroring The Abyss is scheduled for release on the 22nd and having had the fortitude to take a preview, this is an album you should add to your collection as DISASTERHATE demonstrate speed, control and more sedate passages.
Soni Sfardati is the improvisational duo of Enrico Cassia (Electric / acoustic guitar) and Antonio Quinci (Drums / Percussion) plus additional players as mood demands from Catania in Sicily.
Don’t anticipate settling back as you take a listen to Soni Sfardati who take the listener on a journey of experimentalism within a framework well recognised instruments. Leaving the listener bemused, but intrigued is a good marker of a band with something of value to add to the world of music and these two stretch incredulity to edges of elasticity, whilst remaining accessible.
One could easily imagine this as music to a modern art gallery, or a production of a new age theatre performance. There are few geographic boundaries to the material which pulls influences from The Middle East, North Africa and New York amongst others. Never easy on the listener Soni Sfardati travel a path which demands the audience wrestles with their brain, as unexpected refrains suddenly emerge from what seems to be a clear section of music.
The recent release of the nine track LP – Sāqiya – which is available on bandcamp, features the vocals of Gaia Mattiuzzi and this combination is well worth adding to the collection.
Claudio Cataldi from Palermo in Sicily produces an acid folk sound as a solo musician.
I have oft commented how coming back to music can resonate as much as timings of first listening, which makes for being a music reviewer such a pleasure, you know my mood at the time of writing the review as much as I do. I happen to be in one of my rare spots of mellow-mindedness and this sits well.
Luxuriating in a field of violin, viola and Spanish guitar – Claudio Cataldi evokes a sense of rustling breezes with his evocations of nature slip through the speakers. The embracing of electronic guitar and bass gives the music an added texture which provides, surprisingly, an even more earthy feel as the instruments are deployed to stir the sense of mother nature and listening through the latest release Homing Season, the listener is rooted in ploughed fields of sodden clay with their promise of a bountiful summer crop to follow – seemingly forlorn, yet optimistic.
The music is evocative of the season, as with the previous releases over the past five years, which are timed to reflect the season, yet somehow as with Cohen, whilst it can be taken in a crowd this is music best digested as a solitary feast at dusk.