High artistry seems to be the offering here from this cult Italian collective. We are told that this album is lyrically based on works from “poets and artists from different ages.” Antichristian prose is high on the agenda here and essentially you don’t need to be well versed in the works of M. Rollinat and R. de Gourmont to get the essence of the flavours contained within. Perhaps however speaking Italian may help a little in a release that is grounded in “ideology, poetry and culture.” As for the band themselves despite a break of over two decades between 1st and 2nd album (this is their 3rd) their genesis spans back to 1989 when they were conceived by Luca La Cara. There have been various changes line-up wise and I noted that at one time they even had Malfeitor Fabban of Aborym with them even if it was just for a year. Today they have vocalist TheOldNick on vocals as well as Handful Of Hate’s bassist Iblis A.G. but what on earth are they going to sound like?
One would possibly expect doom to be the key component judging by their name but no. This conceived notion is quickly swiped away the second things start in a rambunctious nature and hardly lets up till the finishing line. To put it simply this one goes like the clappers with the hounds of hell on its tail throughout the 37-minute running time. Blackened thrashing fury hones in the second play is pressed via hefty drum battery and furrowing riffs on ‘Plenus Larvarum’ (Full Of Worms). Keyboards maniacally follow and add a horror-fuelled panache that can only be Italian to proceedings, along with the blackened rasps of the very aptly named vocalist. Like an out of control carnival ride the pace drives you giddy and it’s a delirious and exuberant ride through damnation and beyond. Macabre romanticism coats it all as well as classical flourishes via the keyboards which cite the masters of old with their devilish weave. ‘Cloaca cattolica’ (Catholic Sewer) is apparently based on an anticlerical scandal occurring in 1907 when riots followed the exposure of a paedophile priest (nothing changes) and has the burgeoning chops on an all-out rampage. The speed at times flies off the handle and all that’s missing is the ghost of Respighi, who was alive during said event, blazing away on violin.
Theatrically adding Machiavellian cackles TheOldNick seems in his element on numbers like ‘Il serpente della genesi’ and there’s high theatricality and ghoulish flourishes as he orates over proceedings. As we head into ‘Notturno sepolcrale’ sepulchral night, the band finally slow somewhat but the weighty doomy pounding of the drums makes up for the momentary tempered velocity. With the last couple of tracks tackling themes of ‘Witchcraft’ and ‘Pagan Intoxication’ with all the relish and violence of a Dario Argento film (Inferno perhaps), expect an absolutely frenzied climax and zealous conclusion which will have you practically tied in knots.
I went in completely blind on this one and have to admit being completely taken aback by the unexpected lunacy on display. Funeral Oration have devilishly bewitched my very soul and delivered an album that is really quite unique and intoxicatingly composed. Like the Fritz Aigner cover-art this one is guaranteed to tickle your balls!
(8.5/10 Pete Woods)
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