Poetici passi (Italian Edition)

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Franz Kafka

University College London UK. University of St Andrews UK. University of Georgia USA. Pomona College USA. University of Iowa USA. Vanderbilt University USA.

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Royal Holloway, London UK. Temple University USA. University of Edinburgh UK. Auburn University USA and. Location TBA. Search this site. Navigation Home. Organizing Committee. A rain eroding clay shoulders and finding us in the jaw of a November forever open in an lotus with luggage to manage the night, filled with leaves, peelings, signed papers. If we fall asleep. Translated by Dino Fabris XI.

A nylon cloth the clouds, and the man of glass takes on a hue of tar and rusty wire that binds the hours around his ribs. Spadoni and Luciano Benini Sforza are presently assembling an anthology of poetry written in Romagnol in the second half of the twentieth century. Visionary and descriptive passages alternate. His variegated repertoire of images is characterized by subtlety in design and by a cyclical sense of melody. Notwithstanding traces of his literary tradition, Spadoni gives new life to his dialect that is virtually biological for its instinctive immediacy.

Its affinities are clear from its settings everyday, humble objects and human types and its versification. The latter is characterized by a warm, colloquial vocality that lightens the sombre tone and mollifies the harshness of vision. Cesare Vivaldi, in Il lettore di provincia , 79 Vivaldi, in Poesia dialettale dal Rinascimento a oggi Milan: Garzanti, Pietro Civitareale, in Abruzzo letterario , Prima che si faccia buio.

All clocks have stopped. People refuse to grasp that the moon doesnt know what to do about us. Le voglie. Shadows play hide-and-seek and the street-lights perforate the aura of squandered hours. Puoi fare di meno. That day comes when you grow weary, lace up your best shoes and go Come fili di tela di ragno. Nadiani and Cipriani also collaborated with Andrea Foschi on the essays in La parola ritrovata: la poesia contemporanea fra lingua e dialetto Ravenna: Long Editore, In , Nadiani co-founded the literary review Tratti.

He is now its editor-in-chief. The poems anthologized here come from Tir. This marginality, however, allows him to focus his lens sharply. Creaks, collapses, fissures, crashes of beams in the dust, cracks, cuts, splinters—all reverberate. These poems do an x-ray of an inexorably progressive landslide, an extraordinary yet oblique vision of cycles and seasons. His new emphasis is on an accumulative narration of data, objects, daily and work situations.

His new instruments are parataxis and asyndeton or polyasyndata —i. Everyday prose speech, the brutality of history in the making, the infamous and the banal—that is to say, the terms of contemporary threats to the very act of writing poetry—are all here, center stage. The shattering of verse in Nadiani conveys his interaction with lived, transcribed prose.

This idiom is lived to the extremes of chaotic enumeration where his dexterous and resourceful rhythms overcome the flat, monodical flow of apparently run-on phrases. In our heads we say no to North Africans with languid eyes Sleep is what wakes us and we dont buy Automat Today after swats that lit up the night the flies are unsure of themselves For one, over-long moment we stop to hear the thud on the pavement of an over-ripe fig, the putrid splash of the wheels The sparrows wallowing in their puddles seem amused and, in the murk, we envy their chirping. But dont talk to the computer about it!

Stressed, we punch the keys to forget the impotent rage of our disguises Weariness The full moon plumb over the trailers that extend the night. We masters of the dark, hushed Feet sodden with dew we slither back home to shut the blinds, light a lamp, look each other in the eye: no one dares speak of going to bed. In an ample anthology of works in print was published by Scheiwiller, with the addition of the section Laudario , which assembles the texts subsequent to Carta laniena , and an unpublished poem written in The volume is edited and prefaced by Franco Brevini.

He died suddenly in Numana in the summer of Mondadori published posthumously the book of poems El sol. In this sense dialect is seen as a metaplasm of language, alien to any aesthetics of the untranslatable. The model for this operation was presumably offered to him by a popular sixteenth-century poet of the Marche, Olimpio da Sassoferrato Franco Brevini, in Poeti dialettali del Novecento , Einaudi, Scataglini has a very personal ability to cross the boundaries of reality without escaping it, forcing to the utmost the contours of the image, expanding them, and at the same time corroding its core, its inner center, so that it may open to the air and burn in the air.

Towards her I lean through an ancient obedience with the gloomy mien of one becoming immanence. Essentially, sex is a seeming allegory: you can find a nexus only with deathly misery. Look at me hit the ground: breathless, I agonize like a reeling bloodhound lost amid the ice. Raso: abbattuto. Translated by Luigi Bonaffini El cardo sui grepi o cavedane! Cavedane: strade campestri. Translated by Luigi Bonaffini Su la neve De gravi rami in schianto luntani soprasalti. From buckling heavy branches faraway anxieties. Is this, my love, the way one dies of completion broken, side by side, inside their own windbreakers?

Strama: lacera da Laudario The Whip On the spent docks the rusted whip of a tackle rips the silence vapors in the distant whir of motors. Translated by Luigi Bonaffini El sol I. Svetava soverchiante come una torre altera la grande ciminiera fino a luntane piante. Trebiatrici per aie, da longo, colonie, barconi in mezo a scie de svolazate paie. Piccola fabbrica non lungi da Chiaravalle, in aperta campagna. Smantellata dai tedeschi nel , ne restano desolate vestigia.

The long shiver of the call runs through the people inside the waiting room. On the side, a few countenances, all of submissive lives wearing clean clothes contrite farmers in reticent shadows wives in the corner of the waiting room outside, the calash with puppets painted on its flanks, desolate in their vilified happy bloom. Local whistle trains. The great chimney soared high like another lofty proud tower up to the distant trees.

Water down in the gorge the attending murmur flees beyond the patch of elm trees that came out clean and purged from the cast iron gratings of the Sol the whine of black factories, turbines. Unshared, outlying was a large villa the swallows fell in swarms on the white hawthorns. A Small factory not far from Chiaravalle, in the open countryside.

Dismantled by the Germans in , only desolate traces of it remain. The text recalls a summer spent by the author in those places as a boy. Leonardo Mancino Born in Camerino Macerata in Leonardo Mancino Essential Critical Bibliography. Paglia, in AA. E che ce pensi E ci pensi E ci pensi che qualcuno - come si vorrebbe - ci ha preceduto sulla strada che andiamo percorrendo con tutta la fatica necessaria. Su questo palco ormai fradicio e vecchio che non si regge in piedi sempre ti ci devi muovere.

Anche morire se necessario. And Do You Think And do you think how someone preceded us on the road that we keep walking on with all the strain it takes. On this rickety stage barely standing now rotted and old you must make your way. Even die. People look at you with baleful eyes, the clothes are as torn as the years, as the little heart we still have left.

At the corner of the eye tangled fears when you ask yourself why. Nel giardino. In the Garden In the flower garden the poison of sea fragrance grows like a ghost in the night the eye fixes the pupil seems a throbbing dilated abyss on the realm of sweet bewildered dreams the word constantly invoked keeps saying like a chant a verse Lettera del figlio. Vedi la casa. Vedi la casa nascondersi dietro le braccia degli alberi alla campagna. Dal ballatoio sulle scale sembra di vedere una figura che si allontana e poi sfuma: se ci fai caso attentamente somiglia alla sagoma di una madre eguale alle altre, a tutte, che di riflesso spia il destino nella sua stessa immagine.

Senti un lamento di un cane vecchio che muore. He lives in Perugia. Ponti , by Giuseppe Giacalone , ; Idillio e catastrofe. Poesie , and is interested in art criticism he has edited at least twenty exhibits. Mazzamuto, Palermo, As a dialect poet since , he appears in Umbria by P. Some of his poems were included in the anthology Fiori di San Valentino. The poems here included are unpublished. Ponti the man has a serious notion of life, a pessimistic conception of the world, but Ponti the poet almost always succeeds in transcribing his inner feelings into a cold and calculated style, as if it were a defense mechanism against his suffering.

A way of writing cold what one feels hot, a way of laughing at his own pain, as a way of overcoming the pain. But in reality he holds man responsible for his pain, because humanity, from a social point of view, does nothing to make life less miserable. Vivaldi, Poesia dialettale dal Rinascimento ad oggi , cit.

Follia paesana. But what have you got inside your head? To drive me crazy? E caloia de fantignole e merolla sdirinate. Cuore dolce. And flashes of fits and wornout marrow. Sowing pegs and reaping puddles. Never feeling quite right your whole life long.

Nevica da mille ore. And I am dozing off in a needle shaft of moonlight that colors all it touches like a crayon made of sun. Quando rischiara. Holding a literature degree, he taught in secondary schools. Prose: Un regno e un regno Milan, ; Apologhi a Pietro Foggia, ; Le piccole patrie Pescara, ; Viva la guerra Bari, ; Concerto sul colle Chieti, ; He also wrote a few small volumes of essays and satirical and parodic verse : Poesia in forma di cosa?

Pescara, ; Un uomo sfinito Lanciano, ; Minime della notte Chieti, Ha published books of narrative for secondary schools and edited anthologies. He was the editor of Dimensioni and Questar te He is the general secretary for the international prize Ennio Flaiano. The texts that follow are unpublished. The dialect of Giuseppe Rosato, as is the case with the content of the poems and the themes developed, displays totally unconventional registers and cadences, which arise from remote, intimate, personal echoes, and establish him not as the bard of a people, but as the voice of a contemporary consciousness that utilizes dialect for its discrete charm, for its exclusive resources and for the malleability and expressiveness of certain extraordinary structures.

The selection of poems does not exceed the number of fingers of both hands, yet it permits a discourse that is worth carrying out and it refers to the use of dialect in poetry Rosato goes back to a precise condition of poetry consecrated by dialect. Yet she goes to meet the sun: what death could be more beautiful? To be able to believe there is a rising east that waits for us as well as for the last moon of September, a morning filled with light in another world that lies behind the night The dark will swallow us, and afterwards there is no striving and there is no need, there is no curve of moon or spread of stars, there is no sky, there is no anything.

E finalmente, dice. Ma le pinze? Mi riposo But what are you really thinking? And where is all such contentment after all? E ti stai zitto. Now you can cry oh mamma all you like but who will listen, who will pity you? So you keep quiet. Hi has been living in Florence since His work has been translated into various languages and he has in turn translated La muerte a Beverly Hills by P. The poems presented here are unpublished. I received his small book Come nu suonne with a sense of happy wonderment.

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His poems are pleasing and precious, and are written in that beautiful language of central Italy that awakens so many echoes of the poetry from which our Italian language was born. A very tender poetry, that employs to great effect a simple, limpid way of approaching things. Franco Loi I read with great interest his poems of Vecchie parole.

It seems to me that a magic lyricism makes perfect use of dialect in order to reinvent occasions of places and moments of days and seasons, achieving an extraordinary intensity and originality. Giorgio Barberi Squarotti I thank you for the gift of Vecchie parole that I read with great pleasure: reconciliation and harmony of religious spirit and natural elements imbued with a similar soul; profound, age-old language that you execute with great skill and restraint, but that above all you do not betray by deforming it with thoughts and sentiments which do not belong to it, as is customary nowadays.

I am more and more convinced that dialectality is an inner category. Uccelli di maggio. Fiori di neve. Snowflowers Snowflowers in the window and outside, stretching to the limits of the world, the bewildered field just yesterday a snarl of leaves a coating of rust on the sky now a glitter of glass tinted ashy January gray that on some nights brings a silence like a gnawing like an icy embittered moon in the heart.

Ma ora so che non posso. But Now I Know I Cannot Do it I used to believe that it was possible to come back to this height, where the giddiness of memory breathes life again into faraway dreams, and on that path I taste you once more as I did before, fragrant and hot, like bread fresh from the oven. And it is late, and always growing later, and narrow, and interminable, the way. Mi ha ucciso la luna. I Was Murdered by the Moon Heart in pieces and the years pressing like a packsaddle, I await the withering of the last rose on the hedges, blind to every hope, persuaded only by the nothingness there is.

His poems have appeared i various anthologies and in journals such as Paragone , Salvo imprevisti , Tracce , Gradiva , Lengua, Tratti e altre. These texts were born after a period of meager and uncertain practice with dialect. On the creative level, the speech of the Frentan area, and in particular that of Lanciano, paralyzed me: I passively felt its fascination, but was unable to go beyond a series of quotations — or at most of brief insertions — in an Italian context. It was therefore inevitable that I would eventually dare to immerse myself totally in this language, which I felt was extremely expressive, rich with a remote music, dead to the world of modern communication but mysteriously alive as a biological event.

At this point I was obliged to give in to that semiconscious wave that was swelling, to recover its transgressive and atemporal force, to recreate it through archaic gulps, agglutinations and linguistic rasps, setting aside all constraints and false parallels with Italian. Where has it plunged us, what good does it blow this great wind rising over mouldy days this empty idle chattering of chickens this rolling of the intoxicated sky this mouth of petroleum that swallows up the sea: these putrid leaves, these leaves that gut the face of the scarred and disembowelled earth.

You inflame me: who are you. But to the bottom of a pan, to capsize like a wreck there, pours the devil of my revel and the levelled quickened oil. Che sa Emme? From the marbled marine mass we get our Em. The misty mantle round the moon? All Em. What does Em know? A mute and mysterious medley of months: she munches mu and moo, gives me mellowness of mauve, and oh how im- maculate is the magic land of Em.

I theoretical essays are contained in the volume Le ragioni di una scrittura. Vignuzzi and a note by G. The poems presented here are unpublished Moretti unfetters the dialect of Abruzzo from regional themes, using it as a language endowed with full semantic potential. His case is typical of neodialect poetry To mark this distance he no longer employs closed forms or the hendecasyllable, but a laisse of long lines, with the cadence of a recitative and a very personal, internalized rhythm, and a predilection for the discursive long poem His poetry is marked by strong reasons Franco Brevini, in le parole perdute , cit.

With respect to age, complexity of intellectual culture, literary experiences, Vito Moretti rightfully belongs to the new generations of dialect poets In his poetry metrical freedom does not mean lack of rhythm which, on the contrary, stems from careful research of the deepest rhythmical sources, of cadences that combine dialect words into well-connected groupings.

Moretti gives unequivocal proof of this Moretti then starts from the instances of contemporary culture, of intellectual, philosophical culture, and from an ethical quest, from political and religious aporias, to look for the most appropriate expressive medium in the rhythmical cadence bound to dialect words. Essential Critical Bibliography U. It Has Fallen Softly to Weigh Softly the darkness has fallen, softly the night with the black houses rooted about like wornout beasts of burden.

It has fallen softly to weigh, with that round moon hung up by the hands of a hundred craftsmen, the thread of hours that my day brings back to the signs of the earth, and that now ready to close the blinds and to separate us from the joust of dreams I represent as a patient game of pardons. Will it suffice to whisper resolutions to repent? The house is a cave, you told me, a lump to swallow now the children have deserted, and the words--you laid them gently on my breast-- had an umbilicus of the world, like the weeping of the bulrushes with the priestly hallelujah.

But ours is an old disquiet, and it makes you tired in the silence of the nights. And it may not be worth it to wear away the boundaries, or consciously to turn back to hailing yesterday. The cock may crow, even three times, or grow ill with dizziness on the sabbath that has aged us. All of us, with small steps, have the day for crouching on the glass, the red moon that every evening scales the fans of the soul. Rimango a contare le veglie. Like a tree with hidden branches I stay here to calculate the vigils.

Tomorrow perhaps, tomorrow I can tell you of my faith, the sour temper that wraps memories in paper and turns them into passions. Previously the principal of a middle school, he now is involved in the publishing industry via his collaboration with major dailies and literary reviews such as La Repubblica , La Fiera Letteraria , Critica Letteraria , and Produzione e Cultura. Fiore Adriatica Ed. Enne, ; Profilo storico del Molise Venice: Ed. New York: Peter Lang, He transcends dialect verse by writing poetry in dialect.

He does so with a sure-handed grasp of linguistico-cultural contamination reconfigured in totally contemporary language. Tracce, n. Orazio Tanelli, in Nuova Dimensione October Bonaffini, introduciton to The Peacock. Chi arriva e chi parte! Quando parto. When I Leave When I leave and lay down my clothes inside my suitcase, the jacket with the shoulders on a hanger, its sleeves neatly crossed over on the chest, I feel like I am laying a dead man in his coffin.

Always the same. Some people arrive and some leave. And on your final trip you bring one jacket underneath the ground and leave behind at home another jacket dangling on a hanger. A mio figlio. To My Son I am sorry, son, for having planted you in a sunless orchard, quiver of a flower in a guitar; huddled sparrow you wait to be fed with your mouth wide open and quietly flap your wings, but with every hour you grow in my heart like leavened bread, like a scream choking in my throat.

La parola. The Word The word on the lips of a peasant comes out among nettles and stones like a clod turned over by hoes. The word on the lips of a big shot is just like the scrawl of the topping on a cake all garnished with almonds and sugared candy of silver and gold. Adesso nemmeno mi riconosci. A look was all we needed, and like the north wind we destroyed the world, slier than a stone-marten or a fox.

Se dipendesse da me. He writes in Italian, English and his native dialect. As in the cases of Zanzotto, Noventa and Pierro, this journey promises the re-embracing of an archaic, maternal language. In this poetry, there abound dissonant rhythmic percussions, phonic analogies, pounding and obsessive reiterations of suffixes, enjambments breaking sound waves, internal rhymes, and phonico-visual synesthesia. Bibliography Giuseppe Ravegnani, in Uomini visti , vol.

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II Milan: Leone Piccioni, in La narrativa italiana tra romanzo e racconti Milan: Egerton Bede, ed. Vineta Colby, ed. Jovine and Luigi Fontanella, in Novecento , 9, vol. Giambattista Faralli, in Poesia dialettale del Molise Isernia: Anthony J. Tamburri, in World Literature Today Summer Lazily in the shade passes the day and sleep is like the sleep of fledgling birds. You keep your eyes half-open and half-closed, because you want to see what you can do.

It gets lost in the valleys among stones: it no longer carries jugs, it has no cushion for the head. Desire to work is a small hole, because you want to know what we must do. Il vento del paese mio. He shoves you to and fro along with rocks, he presses, rips right through you, knocks you down. A wind like this you never will forget: He made of you a man who can bear mountains, stealing your seeds, your ears of corn, your wheat, ramming against you and strapping you down. So many years have come and gone, today the wind is a good friend outside my door. The Song of Nothingness Nothing, said the hen, can make you happy.

Nothing ever ends, and nothing is born. Nothing, there is nothing to bring outside, that in this world we have brought nothing at all. Nothing, there is nothing, I am also nothing. Only I know that what I know is really nothing. La via del molise. Slowly you start to count: the time gone by before your eyes, begins to waver. The road to Molise is sweet as honey, it stretches across mountains, over rivers. You can see the towns in shape of crosses and the heart rejoices, wants to sing.

And you hear an ancient voice that calls you from the dark of the fountain, from the branches. Tesio Udine: Campanotto, ; Controcielo , grotesque novel, preface by F. Brevini and note by A. Serrao Milan: Scheiwiller, Spagnoletti e C. Vivaldi, eds. Milan: Garzanti, The poems printed here come from Controcore. This is a bastard child of a perennial world, unconscious victim of the she-wolf mother unnature? It does so via his inexhaustible inventions of turns-of-phrase and metaphors against a baroque backdrop that is, literally, black-and-blue.

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Here, an endless neologistic and prosodic bombardment rages against the traditional music of the Romanesque vernacular and transforms this tongue into a solar and underworld language that acts in critical and mad counterpoint with the pulsations of memory, the joys of youth, sensuality, material life. Piga, La poesia dialettale del Novecento, cit. Brevini, in Nuovi Argomenti , 47 July-September Maffia, in La barriera semantica, cit. Night is gentle, limpid, no dreams. I set out alone to meet the broken dawn. The thought of the moon hovers and light flows in its nuances. The ghosts of things swarm, shades withdrawing from shadows of annunciation of day I revive in the fancy conjured by the world and who-knows.

Si fa chiaro quel gran dolore che fa tremare. I cani allampanati hanno un andare sbilenco e incrociano gli umani sentieri. Il vento viene da infinite leghe e si disperde al crocevia fino al momento del supremo andare che ci fa uomini. Scattering The shaded sky sheds the moon. The pain that wracks us clarifies. Lean and hungry dogs weave, cross paths cut by hands.

Wind rises from infinite compounds and scatters at the turning point, that moment of the supreme adventure that makes us human. Il freddo. La carne e il sangue fatti parola. The Cold That holy cold that dries your heart and the sudden frost, quick deep freeze of Bohemian droplets on the branches of the Pincio Flesh and blood become word. And us, bone-deep, passing through the needle-eye of super-starry heavens that go lunatic.

La gloria e la fiacca. The grass shivers in auroral chill Poetry in Italian: Coordinata polare , Rome: Ed. Something else that struck me in these poems is the acceptance of a tradition such as the Neapolitan, not in its easy musicality or in the fatuous and abused melody of sentiments — the Neapolitan song — but in the innermost philosophy of this great city and in the stylistic observance of an inclination to think, of a movement of thought within sentiment, which after all constitutes the most profound character of Neapolitans, so as to produce a renewal within tradition.

Dialect is for Serrao a virile, paternal tongue, in which there is no regression: it is the instrument of an inner monologue and a dialogue with his dead father, which is the same thing , carried out at the urging of a totally modern anguish, far removed from any alleged Neapolitan well-being. A landscape that seems swept by a wind of destruction and the often rainy and wintry weather increase the effect of displacement. Serrao uses a closed, harsh dialect While She Should Have Left Came Winter So Winter Comes In Lord, to you I entrust the melancholy of this gentle sprite, and the signs of mine upon my brow, of mine under the eyelids He teaches contemporary literature at the Academy of Fine Arts in Naples.

Writing in dialect, in my dialect of Cappella, very close and similar to Neapolitan but with a few autonomous morpho-syntactical characteristics, to me means more and more drawing out my voice, my imagination, my anthropological-expressive identity grounded in an sharply defined archaic territory like the Campi Flegrei. Dialect, then, neither as a flight toward the past nor as a negation of the present, or not merely this, but as a pressing necessity to discover my roots, opening my cultural heritage to original and inherent possibilities.

This means that Italian, Latin and dialect must interact, without either academic-philological pretensions or the least late-avantgarde temptation. I am even less seduced by the not very seductive siren of post-modernism. For me it is a question of bringing to light the numerous suggestions and images, the complex phonic and rhythmic layering that has deposited inside me over the years, without any kind of exclusion or privilege.

Le piastrelle. The Tiles The cracked tiles wobble when you walk on them, the whole house shakes, a house with so much pain inside, chairs and mirrors swallow dust and grimacing mouths. A knife slices through the walls, a thin breath like that of gasping birds, beneath the rows of tiles the things the shadows on the floor below stir, creak. And so many long, black tails, so many worms come out at night from underneath the tiles to jump on you in your sleep!

Brucia in basso. It burns Below It burns below it burns twisted roots the animal kicks and bites dead rats below a dry wind burns doors and windows slam the tongue chews only saliva that burns in the throat below Pare luna. It seems moon. These tinkling stairs seem a luminous scroll, where the blackest wings go up and down, tiny feet with a line of blood much thinner than cotton.

A Miseno. At Miseno At Miseno there is the sea and the lighthouse, there is a light at Miseno, hazy and distant, that spreads over the mountain, getting lost there, and then a voice rises from the ground, the voice of the statues eaten by wind and time, and from the sea rise ghosts of salt that prick your eyes. He studied in Naples degrees in French literature and Philosophy. Very intense and decidedly productive his relationship with two distinguished Neapolitan writers: Domenico Rea and Fabrizio Ramondino. He wrote in Neapolitan dialect from the mid-Seventies to the end of the Eighties.

Greco ESI, His poems appear in the anthologies Poesia dialettale dal Rinascimento a oggi, cit. He is also known as a satyrical poet in Italian under the pseudonym Sasade. He uses his Neapolitan dialect to express a malaise that betrays Symbolist roots renewed through the realism of a very different tradition, imbued with a profound and sorrowful musicality.

Some faded withering soul of an old unmarried lady got really tired of sewing the dresses that you asked for and ripped away your eyes. I am the one who gave you this quite unpleasant sickness. I am ashamed of living with my arms that drop under the weight of death.

A sprite each morning walks with him towards the school and then takes him back home. The underling of death follows us step by step. The sprite goes out the door to take a little stroll. He earned his keep today. Translated by Luigi Bonaffini. E scacciali, gli spiriti!

They got inside your nerves just like so many ants and gnawed away at you worse than a dead cat. You yourself have cast a most malicious spell. There is no sorceress who can sprinkle grains of salt over your recent wounds. Non fumavo sigarette, non andavo con le donne. I always walked alone waiting for better times, my pockets filled with stanzas that bedeviled death.

And the last twenty years? An album full of stamps.

While never smoking cigarettes I smoked away my youth. Versi noti di canzone nella nebbia della notte. With the lyrics of a song they have locked you in a coffin. And you know that after them one morning death will suddenly appear. His corpus poeticum puts us in touch not only with the myth of beauty but with something that transcends our idea of its harmony and hovers around a consciously honed, succinct truth. De Grieken mengen op ingetogen haast kale wijze gotiek met Griekse folk. De stemmige muziek leent zich door dat ingetogen karakter ook goed voor mixen. Op Remixes , u raadt het al, worden hun nummers -van met name de eerste cd- geremixed.

Erg leuke en uiteenlopende mixen zelfs. Geen van allen is bij hun folk-achtige muziek blijven hangen. Vrijwel iedereen heeft er met elektronica aan gesleuteld en de muziek van Daemonia Nymphe op eigen wijze ingekleurd. Peekay Tayloh Pantelis Kakaroglou doet dat zelfs tweemaal. De twee elektronica specialisten van het opgeheven Beefcake nu spelen de heren in Kattoo , Freude Am Tanzen en Wighnomy Brothers samplen de Grieken op subtiele wijze binnen hun mix van spannende idm en donkere ambient.

Hun verrassende verschijning op deze compilatie komt waarschijnlijk door hun werk met Peekay Tayloh. De mooiste mix komt van ene Basilis die heel fijntjes glitch rondstrooit door het uitgeklede origineel. Ook de andere onbekende mixers Nikodemos , Dani Joss en Supermarket gooien er op fijne wijze elektronica doorheen, die in het geval van Dani Joss zelfs aardig dansbaar wordt.

Het is een verrassende remix-cd geworden, die misschien nauwelijks aansluit bij de originele muziek, maar wel erg lekker is en iets nieuws toevoegt aan de Daemonia Nymphe discografie. Jan Willem Broek. Auralpressure Daemonia Nymphe remixed seems an odd release to come from this recondite neoclassical stable, yet the myriad of artists attempt to retain the Hellenistic mystery and mastery.

For the most part all the remixes feature electronic qualities bringing Daemonia Nymphe to a newer audience. Von Magnet, under the guise of Von Nymph for this remix, mixes female cries into the pulsating electronic rhythms weaving lyre and the powerful recitation of Phil Von in a sinuous orientalism. Nikodemos goths up ' Summoning Divine Selene ' with mock-industrial percussion and softly skirling synthesized sweeps. Contributing two tracks to the remix album, Peekay Tayloh fuse folk guitar to trip-hop cadence and rasped noise with their ' Hymn to Bacchus ' remix. Gelid winds announce the ensorcelling remix of ' Nymphs of the ' by Basilis, retaining strong elements of the original with the flourish of the many stringed instrumentation and percussive hand drums.

Mimetic Fake drive a club track out of ' Message Horn's Enchanting Echo ' broken by moments of pan-fluted reflection before launching back into heavy bass and beat. In their second contributing track, Peekay Taylor contracts and shudders with a noisier glitch remix of ' Deads are Dead ' while preserving the loose folds of esotericism.

Supermarket continues the modern electronic soundscape of eerie unresolving atmosphere and melody. Lastly, Dani Joss, delivers one of the darker mixes on the album with plodding percussive hypnotism broken in fragments of isolated vocals and shimmering oscillations. The release is presented as an eight page full colour booklet, roughly DVD sized with the CD itself affixed to the last inside page.

Rubicund, earthy tones saturate the booklet with the familiar silhouettes of the band composited artfully throughout. Riti dionisiaci e ninfe fascinose impalmano in guisa suadente tali ambientazioni soniche, ricreate impeccabilmente per tramite di una strumentazione tradizionale arpa, lira, percussioni e canto femminile in un idillio pastorale dai riflessi esoterici.

In questa occasione, il leader Spyros Giasafakis ha contattato alcuni dei suoi act elettronici preferiti al fine di reinterpretare una selezione delle composizioni dell'ensemble in chiave contemporanea: in questa fusione 'electro-acustica' tra antico e moderno, le rielaborazioni dei brani dei Daemonia Nymphe si caratterizzano per il loro innato charme, diafano ed altamente evocativo. Tra le sortite piu ugrave; rappresentative vanno debitamente segnalate l'onirico adattamento di "Hypnos" a cura di Beefcake, il delicato ed avvolgente mix de "Nymphs Of The" effettuato da Basilis ed il trattamento crepuscolare riservato al "Dance of the Satyrs Prayer Mix " da parte di Supermarket.

In linea di massima, le restanti tracce non deludono e certificano l'evidenza di un lavoro di gran classe. Un esperimento riuscito, peraltro forte di uno splendido artwork, al quale eacute; lecito augurare un pronto seguito. Michele Dicuonzo. Roberto Alessandro Filippozzi 8. Dette er, som man kan se av tittelen, en remixplate. Music club Quando l'impossibile non solo diventa probabile, ma pure reale. Formazione in grado di coniare un suono tradizionale in tutto e per tutto, ma al tempo stesso perfettamente attuale e carico di forza creativa.

Daemonia Nymphe intoxicates the senses with aged instrumentation, spoken words, deep chanting and a sultry and ritualistic sound, with the lyrics based on mythology. Sideline As an experiment Daemonia Nymphe were asked to provide samples of their handmade Ancient Greek instruments. The results were so exciting that front man Nikos Brass approached several artists, mainly from the electronic scene, such as Von Magnet, Beefcake and Mimetic Mute, to name just a few, to remix some of his tracks.

And see how the mix of analogue and digital instruments could fuse into the rebirth of his songs. This remix album contains honest re-interpretations, each track keeping their spirit but interestingly flavoured by their remixers. Though the originality resides in the fact that this is really a clash of both styles, and the electronics are far more present. ES:7 ES. The sound of the reproductions of ancient Greek instruments we use is extraordinary and could easily be used for contemporary music. This gave me the idea to approach musicians mostly from the electronic genre, so that our songs take a different form and re-birth, having a new result combining the ancient sounds with modern ones.

All musicians who contribute to this work are some of our favourite, and each gives his own approach to our music, creating variety. Their voices are combined with Latin chants by male voices and very rich and versatile music to which the bandwith of the musical spectrum stretches from pure medieval folk on to modern electronic interpretations.

At other moments as a listener you find yourself watching a medieval tournament where heralds sound their horns. O Quam Tristis is a band that until now still is a relatively well kept musical secret outside the electronic medieval scene but this could change permanently with this album. Musically speaking this album is better than the previous cd of Q Quam Tristis and therefore this is a recommendation to everyone that can relate to the above description. This is a lovely record! Review byTeknoir. Alleen met een gymnasiumdiploma kom je in de band, aangezien alle teksten in het Latijn zijn.

De teksten, gezongen door zowel robuuste mannen en engelachtige vrouwen, zijn dan ook gebaseerd op liturgische en seculiere gedichten uit de Middeleeuwen. Anders is het gebruik van moderne elektronica naast de klassieke en oude instrumenten. Zo zijn twee nummers haast dansbaar, terwijl het decor eeuwenoud is. Je zou het een moderne interpretatie van Middeleeuwse muziek kunnen noemen.

Overigens is het op vele momenten ook heerlijk sereen en sacraal, ondanks de onderliggende beats. Een origineel album, vol onaardse schoonheid. Als Thy Violent Vanities opereren ze om die te vertolken middels liederen. Ze gebruiken op Come To Dust een gelijksoortig instrumentarium als bij hun moederband, dat wil zeggen moderne en traditionele instrumenten. De zang, vaak meerstemmig, is dan ook een sterk onderdeel van de cd; zeker Liesbeth's heldere stem is een mooi aanvulling op die van de zware jongens. Voor de zware stof die ze behandelen is het redelijk opgewekt en up-tempo.

Desondanks zou je de muziek als dark folk kunnen bestempelen, maar dan van het soort dat het daglicht prima verdragen kan. Chain D. While listening to O Quam Tristis I've been thrown back in the middle age. It's medieval folk with latin lyrics, if you're familiar with bands such as like Ataraxia, Qntal e Dead Can Dance "Aion" era you probably know what we're talking about. I like this album: it's solid, "focussed" but at the same time kinda heterogenous, it contains a various range of atmospheres.

Palace of Worms describes this record as "a modern interpretation of medieval and ancient folk music" and after all it's the best possible definition for a work like that. The most interesting thing of this release obviously is represented by the vocal parts gregorian chant have been a real turning point in the history of music since the male singers are good, but the female ones are even better. This' the third cd by O Quam Tristis and the band shows how maturity helps to refine the "modus operandi" in songwriting. The funny thing is that while one may expect an epic record with a completely ethereal mood, "Mediationes ultimes" is full of mid-tempo "danceable" tracks Quoniam tu solus, Terrae for exemple.

If you imagine a cd overwhelmed with evocative songs give it a chance since in the past some songs would have been a great soundtrack for a banquet. Review by: Andrea Ferraris. Come definire altrimenti l'incanto di tracce del calibro di "O Langueo" semplicemente irresistibile , "Quoniam Tu Solus" e "Confiteor", laddove l'incastro dei vocalizzi maschili e femminili, la perizia strumentale e la suggestione dei testi in latino ricreano scenari estatici di grande impatto emotivo. Un'opera eccellente, peraltro forte di un ottimo, evocativo artwork: la quintessenza del sentore 'gotico' abita sobriamente questi generosi solchi.

But the main goal is still not to create "authentic" ancient music because the band is mixing old instruments such as mandolas, psaltry, dulcimer and recorders with traditional electric ones lying on electronic loops and rythm patterns. In the beginning, the songs were quite only using anonymous medieval liturgic lyrics Heathen Harvest When medieval music comes to mind images of dusty churches and Gregorian chants instantly spring into the imagination.

Personally I have a penchant for medieval instrumentation though I have often found the vocals and lyricism used by many medieval musicians to be overbearingly liturgical as they often invoke images of Christian religious ceremonies taking place under the vaulted ceilings of ancient European cathedrals. For the last decade the neoclassical music genre has been experiencing a small renaissance of Neo-Medieval music led by artists inspired by the music and culture of the middle ages.

Musicians such as O Quam Tristis and The Soil bleeds Black have been working hard to bring an appreciation of medieval inspired music into our modern age. O Quam Tristis has entered this emerging music arena and firmly established themselves.

Incontro / Encounter

This French ensemble comprised of five talented French musicians and vocalists have quickly made a name for themselves by offering listeners medieval inspired music that detours from the standard. Meditations Ultimes is O Quam Tristis third full length album and it sees the band coming to full maturity. Meditations Ultimes brings together fourteen medieval secular, liturgical and poetry inspired tracks in a very long album that is sure to satiate even the most demanding music listener.

If O Quam Tristis simply regurgitated a handful of medieval liturgical songs I would not be writing this review right now. What makes the music of O Quam Tristis inspiring and engaging is the band reworking of original medieval material. Utilizing modern technology and their own unique creative sensibilities O Quam Tristis transforms the dated material they use for inspiration into modern compositions filled with new life and vitality.

From the ashes of the past the band is able to coax forth fiery and festive compositions created from a melding of modern and medieval influences. The combination of vocals and guitars is expertly paired. After a brief passage bass guitar and violin join the composition accompanied by male vocals and backing female vocals. The song becomes dense with vocals and instrumentation that weave and intertwine flawlessly captivating the listener.

The song transforms through moments of density to moments of open and airy instrumentation and solo singing allowing for a sense of development and a pause between denser moments in the composition. The rhythms are crisp and clean and roll out of the speakers with enthusiasm and precision.

Synthesizers and bass guitar join the electronic rhythms contributing a rock and liturgical feeling to the composition. Female vocals descend upon the song interweaving and wavering in a spell binding chant. Male vocals join the music adding a counter balance to the feminine energy of the female vocalists and flushing out the song. As with previous songs the band moves the music through several different movements and passages holding the listeners interest and adding an element of intrigue as the listener waits to see what emerges next from the delicate maelstrom of music and chanting.

O Quam Tristis leaves the biggest surprise for the last song. Of course the Latin chanting keeps the listener aware that this is no hippie band but rather the ever eclectic sound of O Quam Tristis. O Quam Tristis have proven themselves proficient in hybridizing rock, electronic, and medieval music into an innovative new sound that breathes life back into medieval music and manuscripts while simultaneously making scared the rather soulless domains of rock and electronic music.

O Quam Tristis also excels in delivering outstanding vocal performances that accompany their music. So many Neo-Medieval bands rely solely upon lead female vocals that any given album loses the listeners interest after a handful of songs delivered by enchanting yet redundant female vocalists. O Quam Tristis has overcome this vocal obstacle by layering their song with multiple vocalists and utilizing the dynamics of feminine and masculine vocals in such a manner that inspires the listener and creates motivation and excitement.

O Quam Tristis have mastered their art with Meditations Ultimes and have delivered an eloquent album of inspiring music. This, the third release from O Quam Tristis, continues the medieval folk chambers the band previously explored, yet with this album the band finds a more introspective and meditative aeries in their blend of electronic and medieval styles.

The French compact of five adorn and interleave their music and talents with four of the group being vocalists and all wielding mastery of digital and analogue instruments. Inspired by secular medieval life and poetry O Quam Tristis distance their selves from the plethora of Christianized gothic medieval acts spicing up old sacred favourites and are further detached by the mesh of modern and centuries' old music. Stirring female vocals gliss gossamer under silvered orchestration proffering sinuous, popular interpretations of old melody in turn backed by the diversity of complimentary male and female vocal harmony.

Electronic rhythms shuffle the listener's perception but the potent vocals permeate each track in polyphonic brocades, refined timbre of classically trained singers, like pagan incantations woven in the guise of reinvented folk. Without doubt the kaleidoscope of vocals set O Quam Tristis firmly apart from their brethren, with each vocalist distinct enough yet harmonious to work among each other; notwithstanding their intriguing and illusive rhythms and melodic instrumental interplay marbled amidst the dense foliage of the small choir one could almost forget that there is a great deal of electronic and modern backing behind the classic instruments so well hewn is each track.

A jewel case release of gradated textured card inlay and booklet of full eight-page colour replete with lyric sheet featuring the artwork of French 19th Century painter, Alphonse Muraton, featuring a grave digging monk contemplating his buried brethren below. Stillborn Magazine Finalmente il ritorno degli O Quam Tristis, a tre anni dal bellissimo Le Rituel Sacre il combo capitanato da Hugues Dammarie sforna nuovamente un album spettacolare, ancora una volta per l'italiana Palace of Worms Fatelo Vostro. Kronic Gli O Quam Tristis sono sempre stati un gruppo di nicchia, sin dal debutto si sono presentati con una miscela di canti latini di estrazione liturgico religiosa e di basi elettroniche soffuse.

Stile quindi perfettamente definito ma per questo anche rischioso. Det blandes bruk av tradisjonelle og klassiske instrumenter f. Le Fantastique. Funprox This is the third album by O Quam Tristis. I find it impressive to hear how the band improves with each album. Both musically and in song writing the band has grown a lot since the first album. These rhythms are not dance beats like most of the time with Qntal, nor standard rhythm structures to accompany typical medieval gothic tunes like Helium Vola. Besides that, the medieval music which the band plays on top of this, sounds more authentic and pure then most bands in the gothic scene will ever sound.

Especially in the melodic qualities of the compositions O Quam Tristis have clearly improved. The traditional medieval structures sound convincing, while the modern electronic elements fit in nicely, a combination which we know from bands like Qntal. One of the most attractive features of the band is the harmonic combination of 'earthy' male vocals and ethereal female voices, in a somewhat comparable manner as for instance Love is Colder than Death.

All songs have liturgical lyrics in Latin by the way. The musical spectrum of this album is quite varied by the way, from tranquil acoustic songs to dark gothic hymns to uptempo 'crossover' tracks. The electronic elements are combined with traditional instruments like bagpipes, flutes, dulcimer and percussion.

The absolute hit is 'Terrae', with an addictive beat, a wavy keyboard sound and a catchy refrain. It reminds me a bit of some material by Argine. Musicextreme This band is extremely original. At first they sounded to me like some sort of medieval sounding project. But after some minutes the band shows that they go beyond all styles using electronic beats to contrast with the vocals that have that ancient feeling in them.

And this contrast is the essence of O Quam Tristis music. The vocals here are in Latin language adding also some medieval feeling to the music. There is good musicianship here as can be seen on the multiple melodies and arrangements that each track has. So, lovers of dulcimers, flutes and bagpipes should check this band but you have to listen with an open mind because of this huge contrast of styles that are combined by O Quam Tristis. The French quintet comprises three men and two women, and I really like the fact that their music features both male and female vocals.

All-male vocals would swiftly become monotonous and wearisome - altogether too much like a real monastic choir - whereas using only female singers would be too fey and ethereal for my tastes. The combination of the two, however, allows O Quam Tristis to ring the changes arf, arf! Male and female vocalists take turns in providing leads and backing vocals. The arrangements of the album combine authentic early instruments such as bagpipes, flute, tambourine and dulcimer with electronic keyboards, guitar and bass, but the music is firmly subordinated to the vocals throughout.

If I might be allowed a minor moan unrelated to the album itself though, the 'Chronicles' section of the O Quam Tristis website has a background so dark that it's impossible to read the text without highlighting it - surely some mistake! I can't guarantee that this album doesn't contain subliminal backwards messages urging you to go to church and confess your sins, but it's worth talking the risk. They have a refreshingly original take on the neo-medieval template, and this bunch of funky monks and nuns will have you rocking around the cloisters like an ergot-intoxicated peasant in a Breughel painting.

Darklifezine Third long-play effort by O Quam Tristis , a French combo devoted at resurrecting medieval and liturgical music and render it in a contemporary context. Following on the tradition of the likes of Qntal , they make a good effort in integrating fitting electronic elements into the ancient tradition, side by side to traditional instruments, while their most upfront trait is polyphonic vocal arrangements featuring harmoniously integrated male and female tones, and a pinch for catchiness to boot. Featuring members of Collection D'Arnell Andrea , O Quam Tristis might as well earn the tag of electronic-pop-ethereal-folk, and tracks like Terrae are exemplar of this, with their the dancefloor-bound backbeat, hooking melodic vocals and up-lifting flute passages.

In fact, most of the hour-long Meditations Ultimes is well suited to the dark dancefloor of historical connotations, as its mainly sustained BPM count states quite clearly. I suppose a bit of extra work on the percussive sounds or the addition of live percussion could lift the overall arrangements a tier up, but as it stands, one could only praise this work, not least for not budging to on-going trends.

O Quam Tristis bring the far past forward up to today, with competence and a light heart. The message is an entirely positive one, is breezing and uplifting. It's the light, yet in the tunnel. Et quelles voix!!! ADL — 9,0.

Mauritius North Port Louis, Pamplemousses and Riviere du Rempart (Photo Albums. Book 11)

The output of Palace of Worms has always been restricted to high quality releases targeted at promoting deserving artists rather than gushing out insignificant releases for profit. Having established such a solid identity as a respectable label Palace of Worms has become a trusted companion to many music lovers. I was recently fortunate to be included in the Palace of Worms tight circle of allies having recently received three new releases from The Palace of Worms for review consideration.

Silent Love of Death is a new music project hailing from Italy. The two appear to be related though I cannot confirm this. Leaden drums and atmospheric keyboards join the guitar and howling electronics to form the songs foundation as a male vocalist begins the tale. The compositional elements are few and uncluttered and are composed and arranged in an infectious manner. The song builds up from its sluggish beginnings and gains momentum instrumentally and vocally. The music and singer surge forward in the middle of the song infusing the composition with passion and energy.

The vocal delivery is smooth and voluptuous like Nick Cave 's voice. The familiar male vocals remain present and now recite a tale of enemies, armed causes, and conflict. The song is dark and slightly martial and is filled with drama and a sense of militancy. Drums and what sounds like a historical speech sample are injected. Guitar is played softly in the background while drums and gloomy atmospherics form the background. The mood is dispirit and glum. Silent Love of Death has fashioned an excellent debut album that is sure to ignite romanticism in many a distraught soul.

Silent Love of Death has unified elements of dark rock, neoclassical and neofolk music into a vigorous amalgam of endearing songs. This is music to play while the sun is setting and casting its warm glow across the horizon or when you feel like spending time alone sipping at a glass of red wine in the dim light of candles.

Silent Love of Death has created a praise worthy album of romantic and stirring ballads that will invoke memories of love lost and conquests turned to dust. Silent Love of Death strongly leans over towards Death in June in some tracks and at other moments it almost sounds gothic. There is nothing shocking going on at this album. The music is beautiful, but the songs go on in the same atmosphere so sometimes boredom peeks around the corner. Yet there is enough happening on this album to listen to it in it's entirety.

Postpunk guitarwork guarantees an indie touch, while in other tracks you will be confronted with exciting martial percussion or yet melancholic piano interludes. This is an album that needs some attention before it starts to grab you and you start to discover it's beauty. Review by Teknoir. De Subjectivisten Caleidoscoop Vroeger in de vleermuizenschool heb ik geleerd dat Joy Division, Sisters Of Mercy en Bauhaus de voorvaderen van de gothic en new wave zijn. Daaruit zijn ook weer dark wave, neofolk en andere duistere stijlen voortgekomen. Daarbij heb je de zwaar bombastische en de meer ingetogen stijlen, waarbij die laatste mijn voorkeur geniet.

Nog steeds zijn er nieuwe bands in die genres, die een wat gedateerd geluid laten horen. Hoewel gedateerd? Spanje laat zich nu vertegenwoordigen door Silent Love Of Death. Silent Love Of Death houdt op romantische wijze wel van bombast, maar doseert dit op aangename wijze. Met de gitaren, elektronica, viool, trompet en drums wordt ook goed gevarieerd.

Verder grijpt de Ian Curtis-achtige zang je bij de keel, net als de muziek overigens. Het is donker, imponerend donker zelfs, maar mede daardoor ook zo wonderschoon. Jan Willem Broek Chain D. Romanticism in full effect, from the name itself of the spanish combo to the lyrics and the artwork of the cd. Piano, Keyboards, acoustic guitars, violins, vocals "a la Ian Curtis" and some military rhythms but not yet neo folk. This cd demonstrates decadece and new wave can still get along together very well.

Listening to the whole cd I noticed it's a bit too long and I think it's sad cause without a few songs "The poet's senses" could have been much more "heartbreaking". Even if every single ballad is really inspired, most of the tracks arrangements could be improved that's a personal opinion. This last thing anyhow has also to do with the fact this cd has been recorded almost three years ago therefore it can be considered a really good debut.

Dark-folk traditionalists can put the name Silent Love of Death in their agendas but if you're looking for a Sol Invictus, Blood Axis, Curent 93 oriented band, well you'd better listen the cd a couple of times. La cupa, magnetica narrazione di Juan Carlos richiama indirettamente la tensione emotiva del compianto Ian Curtis, mentre gli essenziali arrangiamenti di tastiere rievocano spesso e volentieri i fondali opprimenti di Death in June e Sol Invictus.

Gloomy and masterful company to be sure, as influences the aforementioned esteemed verse-smiths lend Silent Love of Death a dark thematic phrasing to explore in "The Poet's Senses". The Spanish moiety craft for the most part dark haunts of the insightful bourns of meter and rhythm, their music a cross of romantic neofolk cantilevered with gothic martialism. Poignant vocals evince the drama of the verse without occluding the luxuriant musical accompaniment; glissando sweeps of stringed guitar, punctuated timpani and wistful electronic percussion, swooning violin and yawning cello, ethereal glockenspiel, distant bells, and the drawn breath synthesizer.

With each track, Silent Love of Death's habitual attentiveness to musical dynamics gives room for each track to find its own pace, from the Lycia-esque gothic dance-floor sway of ' The Garden of Love ', to the recitative with swollen droning background of ' The Crown of the Hill ', and the esoteric round of ' My Pleasure is Your Cause ',contravening what could have been a monotonous homage into an enjoyable fluorescent session. A jewel case release, with eight-page full colour booklet printed in card with full lyric sheet with peeling wallpaper broken with the framed portraits of the aforementioned poets as artwork throughout.

NYR Lefantastique. Garcia Hernanz. Dunkelheit - Juillet Insomma, un connubio intrigante che, nonostante la lunga durata dell'album, si lascia ascoltare piacevolmente, senza palesare particolari cadute di tono. Paolo Sola 7,5. El Claustro Comienza la voz, y me recuerda levemente la voz de Peter Murphy Kronic Il suono profondo della poesia Ci vogliono sempre coraggio e incoscienza per scegliere un percorso rischioso e irto di spine. Prese alcune poesie, oltre ai citati aggiungiamoci altri mostri sacri come Poe e Valery e qualche nome meno noto tra cui Espronceda, i due personaggi in questione ci hanno aggiunto il loro tocco che consta di una voce profonda e cupa e di un suono che se ne sta a galleggiare nell'eleganza di uno strano incrocio tra fraseggi folk e momenti elegantemente wave, e che rappresenta al meglio cosa possa essere un certo tipo di goth intelligente e profondo, che suona senza l'obbligo di essere incasellato.

Eternal Terror Nok en ny utgivelse fra POW Records og denne gangen snakker vi dark folk ispedd en del gothelementer, bl. Temaet her er tatt fra bandets inspirasjoner fra diverse kjente poeter W. Blake, E. Poe osv , ikke av det mest lystige slaget kan man vel si. Dette er alt i alt er ok album med en del bra stemning og mye forskjellig instrumentbruk uten for mye rot og tull, fint sammensnekret.

The concept of this album seems to be a sort of homage to the writers that inspire them, with each song based on the works of Edgar Allen Poe, William Blake, and other poets. These lyrics are sung by Juan Carlos, whose lower-pitched clean vocal is similar in tone and quality to Fernando of Moonspell, and sometimes close in style to Johan Edlund of Tiamat. Unlike these bands, though, the music is much less metallic. As background music this is ideal. It's dark, soft, and almost mesmerizing. But somewhere through these 16 songs it gets to be a little unvaried. Even within the minute songs, there can be a great deal of repetition.

A lot of this is due to the unchanging vocals throughout the record, but also each "riff" or piece is repeated many times over. A couple songs stick out as being more memorable than others, like the opening track "The Valley of Unrest", and "The Garden of Love", each of which has more variation in the passages, while being a little more upbeat. Others will be lucky if they make it half-way through without their eyes shutting. Together they have created over an hour of dark and atmospheric music on their debut album.

The music cannot be easily put under one label: there are influences from apocalyptic folk, dark wave, neo-classical, gothic rock. The general impression is one of drama and romanticism, which is enforced by the lyrics, which are inspired by poems from the likes of Poe, Blake and Baudelaire. The instrumentation is quite varied: apart from acoustic guitars and sometimes military drumming Silent Love of Death employs violin, trumpets and keyboards. A characteristic trademark are the deep male vocals. When listening to this album I'm reminded of a diversity of other artists.

This is not to say that Silent Love of Death are not original enough, they just know their musical history. Perhaps the cd is too long, therefore it becomes a little tiring in the end. Also the vocals don't convince me at all times. But overall I think this is a pretty good cd, for people with a sense for romance and drama and a broad musical taste. Silent Love of Death know how to play and create a moody atmosphere. Poes, William Blakes und Charles Baudelaires, die hier ihre wundervolle musikalische Vertonung bis hin zur Perfektion erfahren.

Hacen falta. It is an atmosphere of sweet tragedy and sorrow that settles within the lyrics inspired by poets like Poe, Blake, Rosalia de Castro and Baudelaire. Acoustic guitars, violin, trumpets, keyboards and piano are valued for their dramatic romanticism and the deep and sombre male vocals contributes to the sullen mood of this album.

Released by Palace of Worms Records in Algunos medios independientes extranjeros han considerado que este trabajo es Dark Folk, pero a mi me cuesta bautizarles con esta etiqueta. Creo que el apartado Darkwave es donde mejor encaja esta propuesta. La voz es un punto vital de Silent Love of Death, muy grave y ceremoniosa. Muy recomendable. Some songs such as the opener, 'The Valley of Unrest', based on the poem of the same name by Poe, follow the original text very closely, whilst others, such as 'Scented Night', based on Poe's 'To Helen', seem to bear only a very distant resemblance to their source material.

Be that as it may, the music of Silent Love of Death falls squarely within the neo-folk genre, with martial inflections and a nod back to 80s synth-goth bands. The strident kettle drums of 'War is Necessary' and the chimes and piano of 'Scented Night' offer a welcome change of pace from the otherwise all-pervading keyboards, but in general terms the album is too monotonous, and has little to offer that is new or original.

Using top-quality poets as inspiration is no guarantee of excellence, and this is a mediocre release from cult Italian label Palace of Worms. The album packaging, though, is very good - a textured card booklet in a muted palette of greys and greens, filled with images of peeling wallpaper and faded portraits of the featured writers, very much in keeping with the album's overall mood of decay and dejection.

LD50 It's rare that we get something that maintains the respectabilities, we hardly care about the neofolk-medieval-ethereal scene, but even if we do, we normally talk about its events. So this occasion is special, the Italian label, the Palace of Worms has loads of this stuff, every member of the scene will find something in the repertoire. The Silent Love of Death with its painfully targeted name, its medieval atmosphere and using Edgar Allan Poe 's poetry seem to play a safe game. There are 16 medieval-neofolk this latter isn't too significant ballads on the album, with the constant presence of classical guitars, violins, piano, drums, hooters, synths that sound like an organ, with some electric guitar every now and then.

The beneficial impact of the bands Sol Invictus , Blood Axis and Death In June is obvious, that would normally make it work, but because of the long-drawn-out album and the singer's self-repeating, plain output the dramatic effect fades and the listener becomes tired of it by the end. Of course the temptation is big when it comes to ballads, but that is exactly how the more becomes less, how the good possibilities turn into a well prepared, but average album. There isn't much missing for a really good album, maybe the next one, if there'll be another one at all. Nicht vom Sound her oder gar als Kopie.

Bei "Demonica" wird wiederholt den Sisters gehuldigt und das Gewaltige dieser Musik wird mit aller Wucht deutlich.

Poetici passi (Italian Edition) Poetici passi (Italian Edition)
Poetici passi (Italian Edition) Poetici passi (Italian Edition)
Poetici passi (Italian Edition) Poetici passi (Italian Edition)
Poetici passi (Italian Edition) Poetici passi (Italian Edition)
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