Claudio Milano / Erna Franssens: Adython (2012)

Italian composer and vocalist CLAUDIO MILANO have been around for a few years now, and while it's his contributions as vocalist in avantgarde band Nichelodeon that arguably is where he's made most of an impact he also issued a solo album back in 2004. "Adython" is his second solo project, and is a collaborative effort with lyricist Erna Franssens. The CD was released in January 2012, and is exclusively available from Italian label dEn Records.

Those familiar with Milano's various escapades will not be surprised to know that we're once again dealing with a production that resides within the heartland of avantgarde music on this occasion. Everything is centered around his vocal skills, covering a range most vocalists will envy him and with a vast repertoire in delivery. Expect the unexpected, and expect to be surprised. Both in terms of delivery of choice as well as just how Milano manage to utilize his vocal talents. Purified experimental in nature, and with seemingly boundless creativity, venturing where few vocalists have dared or been able to go before. And while I suspect that the lyrics of Franssens suits this type of delivery quite well, that aspect of this CD is on suspicion only as I'm not fluent nor even vaguely familiar with the Italian language.

But the contributions by Attila Faravelli, Alfonso Santimone and Stefano Ferrian suits the material very well. Faravalli adds a minimalistic electronic touch on opening piece L’Oracolo Di Delfi, rhythmic sounds, fragmented effects and occasional drones. The minimalistic nature of this supporting layer nicely contrasting Milano's flamboyant vocal escapades, but also supplementing the largely non-melodic and non-harmonic nature of the composition as such in a logical manner. Not quite my cup of tea admittedly, but the sheer skill of this performance is hypnotic in itself, resulting in an enjoyable experience despite the challenging and rather taxing nature of this relatively broef opening piece, clocking in at a mere 15 minutes or thereabouts.

Title track Adython is the sophisticated older brother of the opening piece. Twice as long and then some, sporting a fair degree of arrangements richer in scope. Multiple layers are more common throughout, and even when not the electronic additions courtesy of Santimone are generally of a slightly less minimalistic nature. Ferrian's sax does add another dimension to this construction too, and further enhancing the experience are electronically treated vocals and saxophone. An effect sparingly but effectively used, and as with everything else on this disc in an unpredictable manner.

"Adython" isn't an album that will have a widespread appeal, as far as commercial music goes this production is a good representative of the opposite. Highly unpredictable throughout, experimental and minimalistic in nature, firmly residing deep inside the avantgarde universe. And comes recommended to those who are enticed by such a description, and in particular if a vocals dominated effort of this kind sounds intriguing.

My rating: 70/100
Track list:
1. L’Oracolo Di Delfi
2. Adython

Noctum: The Seance (2010/2011)

Swedish quartet NOCTUM was formed back in 2009, and already the following year they launched their debut album "The Seance". Initially released on a small German label, this production have since been reissued a number of times on CD and vinyl both. One of these comes courtesy of Swedish label Transubstans Records, whose edition was made available from mid December 2011.

One fact that becomes crystal clear just a few seconds into this album is that this is a band with a deep respect and affection for Black Sabbath, and in particular what I'd describe as the vintage era of this band - the periods that kicks off with "Paranoid" and ends with "Vol. 4". And Noctum borrows heavily from this era of Black Sabbath's back catalogue. Dampened but intense drum patterns, flowing riff patterns and staccato power riffs incorporated alongside motifs of a more blues oriented manner and the occasional lighter toned, dampened expression, rumbling but subservient bass guitar and light-toned, intense lead vocals.

But despite numerous similarities and an expression that is undeniable Black Sabbath oriented through and through the end result isn't a purebred copycat experience either. Noctum enjoys a greater deal of variation for starters, commonly utilizing a handful of themes and theme variations in their compositions for starters. And as vintage as their expression is, they also flavour their pieces lightly with a few select details that I associate with bands like Celtic Frost and, to a lesser extent, Venom, to a much stronger degree than Iommi and his crew. And while vocalist Indelöf often ventures into an edgy, subtly disharmonic delivery very much in the manner of Ozzy Osbourne, the foundation of his vocal delivery resides in a more controlled and harmonic overall expression. And unless I'm much mistaken, A certain part of bonus track The Fiddler is some sort of a homage to Paul Dianno era Iron Maiden. This might be coincidental, but I'm pretty sure that Maiden fans who enjoy the Dianno years will get a pleasant smile out of this song.

There's a lot to like about this band and this album, as long as you don't mind experiencing a production that occasionally ventures a bit too close to comfort into the realms of their main inspirations. On the negative side I get the feeling that this is a very young band however. While I'm not that interested in lyrics in general I do think that this band has a development potential in that part of their creative repertoire, and otherwise some details in instrumental and vocal performance both made me think about young, aspiring musicians still a tad too naive in some areas.

But by and large "The Seance" is a disc well worth checking out, and in particular if the first few  years of Tony Iommi's Black Sabbath represent a musical style you tend to enjoy.

My rating: 74/100
Track list:
1. The Seance        
2. Fortune Teller        
3. Insomnia        
4. Den Onda Trollpackan        
5. Mistress        
6. Lucifer's Way        
7. Remain        
8. Children of Darkness
9. The Fiddler
10. The Serpent Bride

Burning Saviours: Förbannelsen (2011)

Swedish act BURNING SAVIOURS was formed back in 2003, and until their initial break-up in 2008 they released three full length productions that brought them quite a lot of positive attention amongst fans of retro-oriented doom metal.

Two years after they called it a day the band decided that they wanted to have a second go, and one year later the first results of the reunion was released as the single "Förbannelsen", with the B-side "Midnight" as the supporting track. Both pieces see the band in fine form, on this occasion honing in on an early 70's sound in terms of style, mix and performance. Shades of Black Sabbath is a constant presence, at least in compositional construction, but Burning Saviours have opted for a lighter toned, less compact variety of this approach on this occasion. The title track is the hardest hitting of the pair, sporting talk-like vocals on top of staccato standalone riffs in the verse parts and a blues-flavoured, mid-paced expression when the instruments are given free reign. Supporting track Midnight opens and ends as a slower, careful ballad oriented piece, with slow wandering guitars in a basic arrangement for the vocal passages, broken up by a pacier, lighter toned guitar solo that slots in perfectly for a creation of this ilk.

All in all a fine comeback for this Swedish outfit, with fans of early days Black Sabbath as a possible target audience. And if this single is checked out and deemed interesting, you might want to check out the second comeback single of this band too: "The Offering", which was released by Night Tripper Records in 2012.

My rating: 70/100


Track list:
A. Förbannelsen
B. Midnight