Review Summary: A masterpiece that’s extremely rich in layers of dantesque environments and stunning musical mastery that, even after dozens of auditions, still finds its ways to amaze me.
What does make me love metal music so much, above any other genre? I reflect on this matter from time to time and, as I grow older, the answers naturally evolve. However, a few things remain rock-settled: creativity as a driving force, the freedom to break whatever established rules and the emotional connection conceded, whether these emotions result from the fine varnish of civilization or from the most primitive and visceral instincts of our being. And so it is Immoto.
Nero Di Marte already presented us two notable albums and this third release makes clear that they’re on a mission to push forward what we all (think to) know as metal. Immoto’s peculiarities and the way it goes beyond boundaries make it totally antagonistic. The first listening of the whole album was really unsteady: it sounded a sonic chaos but, simultaneously, it was some kind of fascinating mystery craving to be unveiled. Engaging with such deviant compositions is, obviously, an act of devotion that demands time and focus, but I hadn't felt such a lure for a “difficult” album in years! I’ve been listening to Immoto non-stop for over a month now, and feel highly rewarded for I discovered a masterpiece that’s extremely rich in layers of dantesque environments and stunning musical mastery that still finds its ways to amaze me.
Throughout the seven tracks, Nero Di Marte give us solid proof of how their individuality has matured, not only their sound or the songs’ structures, but also as musicians.
Sean Worrell distances himself from common guttural vocals, offering us his unique timbre, sometimes clean and so vulnerable, sometimes harsh and cavernous, managing a sinister exhalation to grow into ferocious bellowing. Five of the songs have Italian lyrics which is a statement that deserves praise: recently, a band that we all love and respect so much, released two versions of their album because they feared that a large part of the audience would feel some barriers in connecting with the music but, for me, the Italian emphasizes the album’s mythological/allegorical character. On the other hand, the vocals are incredibly versatile and expressive, leaving no doubts about the emotions exposed.
Traditional chorus don´t live here, nor do guitar solos. Instead, a subtle and never overly technical guitar work guides you through the album in a very twisted and evil way, as successive dissonant and hypnotic riffs coexist with soothing natural harmonics. If you take the bass as a melodic component, rejoice, because there are so many segments for your fruition. I’m especially fond of Irradia for that reason, as well as that moment in La Casa Del Diavolo where Sean, after singing along with the guitar (typical, but always welcomed), does the same with the bass a few minutes after – beautifully haunting. Finally, to make things perfect, this new-guy, named Giulio Galati, takes the whole place down and to his feet. It really is disconcerting how he can be so delicate and unpredictable in some moments, but right afterwards his crushing and repetitive blast beat become excruciatingly oppressive. Above everything, an exquisite musical sense prevails, keeping in tight control and harmony even the most intricate compositions – well, that would be the only way for the listener to come out unscathed. If I have to point out some weakness, which is a difficult task, I would like to hear a bit more clearly the different instruments at some points, among the drums’ blasts or the guitars’ distortions. Also, Immoto is so dense and long that I wonder if it would make it more approachable dividing it in two or three separate editions (as NIN did).
In terms of style, Nero Di Marte push forward previous recipes: death and sludge metal alternates with a jazzy abstractionism and psychedelic avant-garde. Immoto is a 67 minutes dramatic play in which dynamics and dichotomy were given the main roles, as we travel between light and darkness, calm and storm, simplicity and the intricate, pleasurable and unbearable. Dare I say, with this album, expressionism meets a new decade: individuality, subjectivity, distorting realities to swoop emotions, widening the dimensions of its artistic frame and existentialist anguish, it all takes form in this amazing catharsis. Such aesthetic won’t be suitable to the common taste, even less prone to popularity; therefore and sadly, this album will hardly have high scores at rating charts. Nevertheless, those willing to dive in these Nero Di Marte’s musical vortices will find out that it all comes together in unexpectedly well balanced progressions, reiterating the band's compositional capacity. The long ambience sections impressed me quite a lot: I can’t remember the last time when one single note, played continually for over 30 seconds, gave me the chills like this. Nor I remember the feeling of being totally enticed by a riff that keeps on denying that place where my subconscious wants to go, building up so much tension only to find a breathtaking crescendo and an insane climax, like the title track or La Casa Del Diavolo succeeded to do.
Wrapped by the static, silent night, put on your headphones and exhale your preconceptions. Then, slowly, allow yourself to engage in this truly transformative experience. With each breath, Immoto will bewitch you and take you hostage.
Highlights:
Sisyphos
Immoto
La Casa Del Diavolo
Irradia
This review is, admittedly, a personal opinion, based on my known reality, cultural context and personal taste.
It is, also, the very first time I write a review in English, so please forgive me for any mistakes.
