The Romanian Black Metal scene is one I do adore a lot. The Romanian Doom-Death Metal scene is one I do like a lot as well. The Romanian Gothic-oriented scene, however, is one I am not that trusted with. I only know a handful of bands that are worth mentioning, such as Dispersia, Gothic, The Season, Interitus Dei, Serenity and Kratos. So please welcome Whispering Woods, though apparently they did release an album before, Fairy Woods, in 2011 (self-released).
Almost eight years back, Rome-based band Raving Season was formed by female vocalists Federica (raw grunts) and Judith (clean vocals), and guitarist Sergio. When another guitar player and music composer, Marco, joined the crew, Raving Season recorded and self-released their first EP, called The Brightness Of My Disaster (recorded May 2009).
Accuser (vocals, guitars, bass) started Revelation’s Hammer (named after the Zyklon song?) a couple of years ago as a solo-outlet. After a while, he joined forces with percussionist Myrvoll of Nidingr-fame, who still acts as permanent session drum-monster. Accuser wrote some material, which he, and Myrvoll, started to register on master tape throughout the past years (due to different circumstances, it took quite a while before having the whole finished in its basic form).
This is one of those bands with its lows and its heights. I am glad that the lows were situated in the band’s past, while the positive evolution, once initiated at the beginning of this century, did not shrink away.
Italian five-piece Nude were formed by two Metal artists, former Undertakers bass player Antonio Pucciarelli and guitarist Fabio Calluori (of Electrocution / From Depths and Heimdall-fame), and (unknown to me) vocalist Tom Capuano (aka Tommy Box) in order to express their passion for something completely different from Rock or Metal: Electro / Goth Rock / New Wave stuff.
My Kingdom Music is a label that confuses me time after time. They do balance in between extremes; at the one hand, you have a lot of quasi-poppy, modernised and/or happily Pop/Rock/Metal material, and the other extreme balances towards the most obscure, underground-oriented Black-edged evilness. When I need to review a new record, released through this Italian label, I’m always worried: will it belong to the first category, or rather to the second one (or somewhere in between both of them).
After more than a decade of existence (originally as Fvoco Fatvo), and two full lengths, Eversin return with Tears On The Face Of God, an eight tracker with a massive sound (recorded at MP Studio) and a performance much more mature than before (even though 2010’s Divina Estopia, the band’s My Kingdom Music debut, was a killer album as well).Tears On The Face Of God brings, again, a modern form of extremely technical and prophylactic Thrash Metal, the slightly progressive avant-garde way.
That’s such a pity - at least for / to me.
Nowadays, thanks to the constantly growing sickness called ‘downloadable copies’, most labels do send us but an i-pooled edition of new material, most of the time a couple of days / Weeks after the actual release of the new stuff. I can spit my bile endlessly but I’ll spare you th…, no, I’ll save my own time and energy.