We are promised an “exploration of Cult, Magic and Reincarnation” here with the 26th March release date having “esoteric significance.” The innovator of this is cult Italian composer Tony Tears who is one of the founding fathers of the Italian esoteric, dark doom scene, this project itself spanning right back to 1988. By these standards I am fairly new to his cult having first immersed myself in the gargantuan compilation boxed set ‘Music From The Astral Worlds (2000-2014)’ a hugely expansive set running around 3 ½ hours in length. Did I understand it completely, probably not but Tony Tears is an artist whose work either through this formation or Abysmal Grief, one of other various projects has kept me on my toes since then. I seem to have missed out on ‘The Wail Of The Elements’ last year but when asked to decipher ‘The Atlantean Afterlife’ was hardly going to refuse. Artists such as Paul Chain, Violet Temple, Black Hole, Zess are others that have helped define this strange scene. I expect those Italians that have followed it are more understanding of these origins especially when verse is in native language. This album has a duality about it, the first half being in Italian and the second English. Still even the music itself is likely to be a bit of a conundrum and a puzzle to many listeners as although rooted in the origins of doom is also likely to confound and take experimental paths.
We start at ‘Il Ritorno del Globo Alato’ The Return Of The Winged Globe which may direct some towards Crowley’s Egyptian cabalism. Chanting fills the air like the waft of cloying incense, atmosphere conjured and that huge sense of bass definition that one may associate with this scene fills the gaps. Drumming courtesy of Lawrence Butleather is slowly tapped out and it should also be mentioned that long time Abysmal Grief affiliate Regan Graves is also present as a guest on some tracks here on keyboards and synths. Singer here is David Krieg, his vocals are clean, reverential and solemn, at times hitting higher croons and at others spoken with an austere presence about them. There’s a classic doom vibe about it all as the organ style harmonics waft among the music. ‘Cristallo Nero di Astar’ is a particularly interesting track. Organ and bass meander and a deep religiosity is felt along with facets of avant-garde jazz as a backdrop. Our mage recants what sounds like an interesting tale, there’s ghostly wails in the background. Just as this is getting beneath the skin the chorus hits and everything turns on its head. For want of a better description, it is light, carefree and nearer pop music or dare I say a Eurovision number than what one would expect. However, you feel about it and despite a slight confusion, one thing is obvious and that is how damn catchy it is. You will be awaiting its reappearance with anticipation and when it hits it is likely to be stuck in your head for weeks. ‘Il Messaggio della Rosa Rossa’ brings a red rose as a messenger, ominously via a giallo slow beat and witchy vocals moving towards supernatural croaks. The Italio horror vibe lightens but things are curious and full of mystery, what sacred rite have we unwittingly stumbled on? All the colours of the dark are present but a poppy chorus bounce is again the counterpoint of this focus before the track moves to a finale of psychedelic banshee wails. What sounds like a blessing from our witch divides the linguistic line.
I’m not going to say this is any easier to solve musically once we move to English and traverse the ‘Twelve Astral Planes’ but it is here one can finally rock out to on a solid old school metal beat. Wails ala King Diamond hit the rafters and there is almost a NWOBHM chug about it all and it certainly gets the toes tapping. Apart from the obvious Egyptology of the theme there’s plenty of theatricality which might not be a million miles away from the music of Death SS to listeners on ‘The Eye Of Horus.’ Complete with some metallic licks and some Messiah like vocals and backing chants one can only wonder how this would look on stage with a full production behind. Then ‘Black Temple’ moves on to sound like a group of travelling minstrels conducting a play and regaling villagers, its jolly and our players really give the feeling they are treading the boards now. This is one of those albums that was never meant to be reviewed on a track-by-track basis but this is where I have been led so the last number and title track can hardly be neglected. Somewhat soulful, slightly gothic and a little bit of a Therion vibe vocally we enter the afterlife having lived a 50-minute journey with plenty of ideas about it. I still cannot claim it has made perfect sense but this has intrigued and been an enjoyable trip furthering the always weird and wonderful musical cosmos of Tony Tears.
(7.5/10 Pete Woods)
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