Mare Infinitum - Sea Of Infinity (CD)

death doom metal, Solitude Productions, Solitude Productions
466.67 Р
Price in points: 700 points
SP. 053-11 x
In stock
The debut album from a band from Moscow representing two famous musicians in line-up: A.K. iEezor (Comatose Vigil, Abstract Spirit) and Homer (ex-Who Dies In Siberian Slush).«Sea Of Infinity» consists of five doom death metal tracks including one instrumental. Melodic compositions are framed by atmospheric keyboards and powerful guitar riffs accompanied by expressive growl by A.K. iEezor and clean vocals of guest singers. «Sea Of Infinity» is not just another album introducing novel features to the style, but the entrance ticket for a band to the highest level of Russian doom-death metal scene!The album was recorded at Primordial Studio (famous for working with Comatose Vigil, Revelations of Rain, Abstract Spirit, Who Dies In Siberian Slush).The album is highly recommended to fans of music in traditions of Mourning Beloveth and Morgion!

1 In Absence We Dwell 14:10
2 Sea Of Infinity 9:47
3 Beholding The Unseen 9:44
4 November Euphoria 8:35
5 In The Name Of My Sin 12:29

Mare Infinitum
Artist Country:
Album Year:
Sea Of Infinity
death doom metal
CD Album
Jewel Case
Solitude Productions
Cat Num:
SP. 053-11
Release Year:
Country Of Manufacture:
Alternative Matter

From the very first note of opening track ‘In Absence We Dwell’ on the debut album Sea Of Infinity from Russian doomsters Mare Infinitum, the spreading expansive sounds search out and enrapture every corner of the senses. Consisting of five tracks almost touching an hour in length the album consumes with dark intent and enthralling elegance, an impressive mix of pondering death metal and mesmeric atmospheric light to solicit attention that dwells deeper than just the ear.

Comprising of Homer (ex-Who Dies In Siberian Slush) and A.K. iEezor (Comatose Vigil, Abstract Spirit), Mare Infinitum have created an album that moves with funereal pace and energy without ever sinking into repetitive dirge realms due to enthusing it with welcoming and enveloping atmospheric keyboards to inspire images and create feelings of chilling yet tempting dark soundscapes. Alongside thoughtful and deliberate guitars that lead the listener though the albums developing lands, intrusive dark riffs and guttural vocals bring a depth and menace to ensure intrigue and pleasing doubt to the safety of the experience. It is a wonderful and creative blend that sets the band and their debut apart from many similar artists with similar intention.

‘In Absence We Dwell’ instantly grabs attention with dark chugging riffs and commanding tumbling rhythms before slow majestic keyboard weaves wrap around the unrelenting intensity. The darkness is not as spiteful as to threaten but adds an uncertain element to the calm and expansive peace the melodic tapestries create. Even with the heavy black delivery of A.K. iEezor’s growls the defined blend is perfectly balanced to incite rather than challenge, to inspire rather than consume. The track takes a twist with the inclusion of clean vocals bringing a rock element to the piece and a great counter to the abyss fuelled grunts of A.K. iEezor and the continual plodding pace.

Further tracks are nicely varied but brought forth on similar basis to the opener which does with their vast lengths ranging from eight minutes plus to the fourteen minute epic of the first track, at times making the focus throughout a touch more testing than one would expect. Individually the tracks are worlds of emotions and atmospheres in their own right but as a whole there is a fuller deeper experience to be found even if the required effort needed to immerse one into for the duration is more challenging than thought on the start of the journey.

‘Sea Of Infinity’ emerges from gentle still yet ominous waters to wash over senses and hold the listener in its seeming sense of awakening. A further impressive blend of clean and black vocals over the emotive weaves of haunting melodies and lumbering energy and riffs makes for an eager but subdued ‘devourment’. The majestic ‘Beholding The Unseen’ comes with familiar deliverance as in the first two tracks but shows an even deeper ability and penetration into thoughts and emotions, plus the dark beauty of the instrumental ‘November Euphoria’ both lift levels even higher and inspire hypnotic like immersion, the fact they are also the shortest of the songs even at their eight and nine minute respective expanses is worth noting.

Final track ‘In The Name Of My Sin’ completes what in some ways feels like a march of doom but in celebration than defeat or desolation. The track as is Sea Of Infinity as a whole is melancholic and doleful but veined with hope and elegant beauty only dark and mournful emotions can bring forth.

Sea Of Infinity is an impressive and powerful album and even if consuming it as a whole is a pleasurable but formidable effort to make dipping into its mesmeric waters less urgent than others, it is far more rewarding and wonderfully created than most doom/death metal releases seen last year and surely emerging in the months ahead.

Author: Pete

Next up from Solitude Productions, the label which also features doom acts Comatose Vigil, Abstract Spirit, and Who Dies In Siberian Slush, we have Mare Infinitum, a collaboration consisting of A.K. iEezor (Comatose Vigil, Abstract Spirit) and Homer (ex-Who Dies In Siberian Slush).

The aptly titled debut Sea Of Infinity is a sprawling death doom endeavor, featuring five songs that register nearly an hour.

When recalling my listening experience of this release, two key elements immediately spring to mind.

First being the vocals. A.K. possesses a ridiculously powerful low end growl that puts most death vocalists to shame. Whenever he of the inevitable throat surgery starts a-growling he dominates those passages of the tune, pushing everything else to the back. His subsonic barking is countered at times by some clean vocals provided by guest musicians.

The other is the keyboard, which, provides the basic flow of the songs. At times it slows and allows the other instruments to the fore, but for oft extended periods of time, if feels like the keyboard catches everything else up and drowns it out in its wake. Sure, the crushing guitar riffs are still there, but the keyboard simply fills up the vast empty space between strums, thus seeming to overpower the six strings.

There is the occasional solo or "guest instrument", i.e. the violin(?) in the opening of "In The Name Of My Sin" to add a little extra texture to the longer pieces. A nice, short scenic view as the rolling on the river continues.

To continue along with the rolling river metaphor, upon first listening to the opening track, "In Absence We Dwell", I immediately took a slight dislike to the album. For some reason it just didn't click… but as the album wears on, Mare Infinitum gradually erode away my feelings of discontent to the point where midway through the instrumental "November Euphoria", I am thinking happy thoughts and have a positive opinion of the release as a whole.

I found it "meh" at some points, but flat out beautiful at others, with the beautiful segments having a much stronger, more lasting impact. This release is at least on par with the latest from their other associated projects and is worth checking out.

Author: BitterCOld

Mütterchen Russland scheint in Sachen Doom Metal eine nicht versiegen wollende Quelle für Bands zu sein. In kaum einem anderen Land scheint die Szene so zu blühen, wie im Herzen des kalten Ostens. Einer der umtriebigsten Musiker ist dabei A.K. iEzor, der nach den Flaggschiffen ABSTRACT SPIRIT und COMATOSE VIGIL mit MARE INFINITUM eine weitere Band aus dem Boden gestampft hat, die sich - wie die beiden großen Brüder - im Bereich des Funeral Doom ansiedelt. Unterstützt wird iEzor dabei von einem gewissen Homer (ex-WHO DIES IN SIBERIAN SLUSH), der durch seine vorherige Band ebenfalls Erfahrungen aus der zähflüssig-musikalischen Richtung mitbringt.
Ohne großes Vorgeplänkel in Sachen EPs oder Demos ist "Sea of Infinity" das erste Lebenszeichen und somit gleichzeitig auch das erste Full-Length-Album der Band. Für sämtliche Musik zeichnet sich Homer verantwortlich und der Herr scheint zu wissen, was er machen muss, um nicht im selben Dilemma zu enden wie das jüngste Werk von COMATOSE VIGIL (Zum Review).

Der Opener "In Absence We Dwell" bietet alleine in seiner gut 14-minütigen Spielzeit - wenn man es böse ausdrücken will - mehr Abwechslung als das gesamte "Fuimus, Non Sumus..."-Album des großen Bruders. Ohne das nun jemand etwas falsches denkt: Wir reden hier nicht von Funeral Doom, der auf einmal das Prädikat "progressiv" verdient hat. Vielmehr schaffen MARE INFINITUM es, durch verschiedene Elemente die schleppende Monotonie des Genres immer wieder aufzulockern, ohne dabei einen Bruch in die atmosphärische Ausrichtung zu treiben. "Sea of Infinity" ist durch und durch dunkel, finster und niederschmetternd. Das Riffing erinnert stellenweise an die deutschen Tiefsee-Doomer von AHAB, während die Keyboard-Untermalung in ihrer bedrückenden Schwere an SHAPE OF DESPAIR erinnert. Gepaart mit einem Hauch ABSTRACT SPIRIT zu Zeiten des starken "Tragedy And Weeds" bekommt man eine gute Vorstellung von dem, was "Sea of Infinity" zu bieten hat.
Die Musik ist dabei insgesamt bei aller Dunkelheit melodisch und harmonisch (insbesondere in "In The Name Of My Sin"!). Übertriebener Hall oder surreale Klänge wie bspw. auf AHABs "The Call Of The Wretched Sea" sucht man vergebens. Stattdessen gibt es einen klaren, druckvollen Sound, für den sich die Primordial Studios verantwortlich zeigen.

Hervorzuheben ist die Einflechtung des Keyboards, welches im Hintergrund die gesamte Palette zwischen sphärischen Keys und sanften Pianoklängen abdeckt. Nahezu immer präsent, jedoch nur selten im Vordergrund verrichtet das Tasteninstrument seine Atmosphäre-Arbeit dezent und doch packend. Insbesondere der Titeltrack unterstreicht dies. Auch die nicht aufdringlichen und doch mit ansprechenden Fills ausgestatteten Drums tragen zur Klasse des Albums bei.
Ein weiteres zentrales Element von MARE INFINITUM sind - alles andere hätte wohl auch enttäuscht - die Growls von iEzor. Dämonisch und bitterböse schallen diese aus den Boxen und präsentieren die bedrückenden, freudlosen Texte. Im Kontrast zum Organ von iEzor finden sich auch Klargesänge wie bspw. in "In Absence We Dwell" und "Beholding The Unseen" wieder. Diese wurden von den beiden Gastsängern Eris und Ivan Guskov eingesungen. Ein Element, das man eher aus dem Death-Doom kennt, was jedoch im Falle von "Sea of Infinity" ausgesprochen gut passt. Das Wechselspiel aus Growls und Klargesängen trägt ungemein zur Atmosphäre und zur Wiedererkennung des Albums bei.
Ansonsten bekommt man als Freund des Genres das geboten, was man erwarten kann: Schleppendes Tempo, eine alles umfassende Dunkelheit, seelische Abgründe und fette Gitarrenwalzen, die aufblitzende Leadmelodien und Keys (und damit aufkeimende Hoffnung), kurz nachdem sie aufgetreten sind, dem Erdboden gleichmachen.

Obwohl MARE INFINITUM die 55 Minuten Spielzeit von "Sea of Infinity" auf fünf Songs verteilt haben, besitzen diese, wie gewohnt, allesamt Überlänge. Unter 8 Minuten geht nichts, dafür umschifft man den Fehler, die Songs allzu lang hinauszuzögern. "In Absence We Dwell" ist mit seinen 14 Minuten der längste Song des Album. Unnötige Verzettelungen wie im Instrumental "November Euphoria", welches doch hier und da zu dröge agiert, treten nur selten auf und lassen sich im großen und ganzen verschmerzen.

Anspieltipps: "Sea of Infinity", "In The Name Of My Sin"

Author: Malte H.
Ave Noctum

From F. Dostoyevsky’s birth-town in the Russian Central District comes Mare Infinitum with a debut album entitled ‘Sea of Infinity’ – a rough translation of the band name, perhaps? Anyways, just like numerous bands that I’ve reviewed recently, this lot haven’t got a demo, EP or anything at all under their belts; diving straight into the full-length experience. A massive mistake for some, a wise move of mastery for others. So what is the case with this Moscow lot?

The press-sheet lists Mourning Beloveth as an influence, definitely tickling my fancy. Bring on the slow melodic sluggishness played by a quintet of drunken Irish crazies! The info leaflet also lists the two musicians here as ‘famous’, A.K. iEezor plays in Comatose Vigil and Abstract Spirit), whilst Homer (after the author, probably) used to be active in Who Dies In Siberian Slush… well make of that what you will. Apparently Sea Of Infinity is the “entrance ticket for a band to the highest level of Russian doom-death metal scene”. Oh boy.

Right… to the music. This band certainly ain’t as ingenious as Mourning Beloveth (I find the comparison pretty inaccurate to be honest) and generally there’s a lack of innovation throughout the piece, the not-so-unpredictable song writing doesn’t help. I also completely fail to hear of any elements of ‘Russian doom-death metal’, it just sounds the same as most doom metal of this category. It is, however, a very solid album of somewhat melodic emotional doom; at times beautiful at times crushing, but never overwhelmingly… well, anything. The mix of clean and growled vocals works pretty well, however, but gets a bit repetitive towards the end.

There’s not much more to say, maybe the isolation of the Russian scene is the reason that this record doesn’t sound particularly fresh (I don’t mean the production but the tunes)? Maybe those demo-days might have helped making this a more interesting and inventive record… the musicianship’s there, but the ideas seemingly aren’t. Sorry, nice effort, though.

Author: Miika Virtanen

A.K. iEzor ormai non si ferma più, continua a pubblicare dischi su dischi sia con i Comatose Vigil, Abstract Spirit o questa nuova creatura che lo vede in compagnia dell'ex Who Dies In Siberian Slush Homer, il russo ha un suo "trademark" che si porta dietro come una scia.
Il doom/death sempre volutamente melodico che sia più funereo o etereo l'andazzo poco sembra importare, l'atmosfera è e dev'essere l'arma prima delle opere nel quale esso si trova coinvolto come parte del progetto e "Sea Of Infinity" nel bene quanto nel male paga dazio di questa "conformità" eccessiva del volere artistico del musicista in questione.

Però devo ammettere che è strano, perché dalle mie parole avrete sicuramente inteso che il mastermind fosse A.K. iEzor, invece la musica è composta per la sua integrità da Homer, che la vicinanza del collega più navigatao abbia dominato sulle scelte prese?
La risposta non so darvela, quello che mi duole dire, è che il platter risulta troppo statico, inquadrato all'interno di un "mondo" fatto di schemi, dinamiche e proposizioni sentite e risentite che, letto sotto il punto di vista di soluzioni coerenti con la natura dei personaggi in gioco non sarebbe neanche un male se non fosse che i brani pachidermicamente scolpiti da un guitarworking talmente classico per il genere tanto da provocare un deja vù nel deja vù e un drumming pietrificato su scansioni ritmiche che si ripetono e ripetono prive di mordente, non riescono a scostarsi dai paletti o canoni stilistici neanche quando in soccorso provano a inserire pianoforte, violino, la voce pulita maschile di Ivan Guskov o quella femminile di Eris, nessuno degli interventi sposta l'ago della bilancia né in positivo, né in negativo.
"Sea Of Infinity" un disco neutro? Non saprei in quale altro modo definirlo, da un lato abbiamo delle canzoni come la titletrack, "November Euphoria" e "In The Name Of My Sin" formalmente ineccepibili, dall'altro è proprio la forma così "fedele" e "corretta" da evidenziare tratti di sterilità, come uscirne?
In tutta sincerità, un platter simile sarebbe adatto a chi è ancora "vergine" o quasi nei confronti di un panorama che negli ultimi anni ha fatto passi da gigante in quanto a prolificità e qualità, però avendo davanti a me un ragazzo totalmente al di fuori da questi ascolti, mi verrebbe in mente di suggerire il monicker Mare Infinitum per fargli intraprendere tale via? Direi proprio di no.
Coloro che sono costanti fruitori dell'ambito doom/death potranno dare una chance a "Sea Of Infinity" e trarne le proprie conclusioni, per ora non mi sento di andare più in la dell'affermare: buon compitino e avanti il prossimo.

Author: Mourning

Íme egy újabb beszédes nevű orosz formáció, egy újabb természet-közeli albummal, zenével. A Sea of Infinity A.K. iEzor és Homer, az ismeretlenség méregzöld tengerébe burkolózó figurák által életre hívott azonos nevű zenekar bemutatkozó lemeze. Egész pontosan csak a jelentés szempontjából ugyanaz a banda és az album neve/címe, lévén az előbbi latinul, az utóbbi pedig angolul bír azonos jelentéssel.

És valóban az "arctalan zenekar” (amilyen ezentúl a mi GuilThee-nk is) olyasmi atmoszférikus doom, death zenével andalítja el az erre fogékony réteget, ami egy végtelen tenger magasztosságával, méltóságával hömpölyög át az ember lelkén, kimosva minden oda nem illő koszt, kórokozót, és makulátlan tisztaságot, vagy éppen totális ürességet hagy maga után. A kevésbé fogékony zenehallgatókon meg csak egyszerűen átfolyik, mint a 3. , vagy 4. üveg sör…

A dalok átlaghossza tíz perc fölött jár, az öt tétel játékideje közel 55 percet tesz ki, de nem megfelelő hangulatban hallgatva ez az idő szinte már örökkévalóságnak tűnik.
Nem aprózzák el a dolgot Homerék, az egyre több albumra jellemző, de sokszor teljesen fölösleges, funkciótlan intro helyett egyből belecsapnak a lecsóba, ráadásul a leghosszabb nótával, a majd’ negyed órás In Absence We Dwell cíművel nyitnak. Lassú, doomos riff, karcos gitárhangzás, mennydörgő dobok, szintiszőnyeg és iEzor pincemély hörgése borzolja a kedélyeket jó sok percen át, hogy aztán egy elszállós, szélzúgásos intermezzót követően eleressze heavy és enyhén avantgárd metalos hangját, dallamait a tiszta énekért felelős vendégvokalista, Ivan Guskov. Homer hangokkal spórolós, de szép, míves gitárszólója, az ügyes zongorafutamok és ahogy Ivan és iEzor már-már duett szerűen énekli ugyanazokat a sorokat (nem merem refrénnek hívni őket…) csak az egyik hörögve, a másik pedig dallamosan, az nem csupán a szám, de az egész album egyik csúcspontja!

A címadó nóta, ha lehet (márpedig lehet!) még lassabb fokozatra kapcsol, tempó és egyéb stílusjegyek alapján is nyugodtan nevezhető funeral doomnak. De a síri hangulat ellenpontozásaként itt tűnik fel a másik vendég, egy Eris nevű hölgy személyében, aki énekel és szintizik is a dalban. És Ivan hangja is felcsendül a refrénben, úgyhogy vokális szempontból ez a legszínesebb szerzemény.
Szerkezetét tekintve szinte ugyanúgy épül fel ez a dal is, mint az első, szóval megkapjuk a közép tájt elhelyezett atmoszférikus betétet, a finom zongorahangokat és Homer lassan építkező gitárszólóját. Csakúgy, mint a 3. nótában, ahol az itt-ott felcsendülő fúvós és vonós hangszerek jelentenek némi újdonságot.
A November Euphoria a lemez „leg-legje”. A legrövidebb (mondjuk még így is bőven 8 perc fölötti!) és a legszebb is ez az instrumentális lélek és tengerbúvárkodás.

Az albumot az In the Name of My Sin zárja, ami egy bizonyos fajta vezeklésként is fölfogható és méltó zárása ennek a roppant súlyos, mindent és mindenkit maga alá gyűrő zenefolyamnak, amit én nem mindig tudok teljes mértékben élvezni, de elismerni bármikor!

Author: oldboy
Doom Metal Front

Masse statt Klasse glaubt man übereilt zu meinen, wenn die Labelinfo über Mare Infinitum verrät, dass es sich hierbei um ein weiteres funeralistisches Death Doom Projekt des scheinbar nimmermüden russischen Grunzers und Schlagzeugers A.K. iEzor handelt, der mit Abstract Spirit und Comatos Vigil bereits zwei Bands dieser Musikrichtung am Start hat. Mit im Todesschiff sitzt noch Homer, der von 2008-2009 bei den ebenfalls nicht ganz unbekannten Who Dies In Siberian Slush in die Keyboardtasten haute. Diesem Instrument wird auf Sea Of Infinity in vier Songs und einem Instrumental entsprechend viel Raum zur Entfaltung und Atmosphärenbildung gewährt. Abgesehen vom nicht besungenen „November Euphoria“ und dem durchweg im Düstertonfall vertexteten „In The Name Of My Sin“ holt sich das Moskauer Duo des Weiteren männliche und weibliche Clean-Vocalists mit an Bord, wobei die leicht powermetallische Stimme im Duett mit A.K. iEzor´s Growls in „In Absence We Dwell“, „Sea Of Infinity“ und „Beholding the Unseen“ ehrlich zu begeistern weiß. Im Endeffekt dann also doch eher Masse mit Klasse!

Author: Slowmas
Lords of Metal

‘Sea Of Infinity’ is één van de CD’s die oprecht indruk op mij gemaakt hebben deze maand. Niet zozeer vanwege de originaliteit maar puur vanwege het raken van de juiste snaar. Dit duo uit Moskou bestaande uit Homer (ex-Who Dies In Siberian Slush) en A.K. iEzor (Abstract Spirit, Comatose Vigil) levert loodzware maar sfeervolle doom/death metal die refereert aan het werk van Ahab en Mourning Beloveth. Het tempo ligt vrij laag maar de muziek bevat voldoende variatie en ingrediënten om te blijven boeien. Ik vind de productie ook erg geslaagd van het album, de gitaarmelodieën liggen mooi op de slagpartijen, de ondersteunende rol van de keyboards is perfect gemixt en alle details zijn goed hoorbaar. De gevarieerde zangpartijen zijn ook een sterk punt van dit album. Ik kan dan ook niets anders dan ‘Sea Of Infinity’ aan te raden. Je haalt hiermee een degelijk, goed gecomponeerd doom/death metal album in huis waar je lang plezier van zal hebben.

Author: Pim B.

Généralement, quand des musiciens fondent un projet, c’est pour produire une musique différente de celle qu’ils pratiquent dans leur formation d’origine.

Dans le cas présent, un membre de COMATOSE VIGIL ( et d’ABSTRACT SPIRIT ( s’est allié à un ancien de WHO DIES IN SIBERIAN SLUSH ( pour fonder un projet de Doom Death à la limite du Funeral Doom, ce qui finalement situe MARE INFINITUM dans la même galaxie. Allez comprendre...

Ce constat étant posé, il n’entache pas la qualité intrinsèque de « Sea Of Infinity », dont les cinq compositions ne brillent pas par leur indice d’innovation mais bien par leur efficacité à rendre des atmosphères glauques, désespérées, pesantes au possible. Tout au long de ces pièces assez longues (entre huit et quatorze minutes), les riffs seront forcément terrassants, le tempo d’une lenteur hypnotique, le chant majoritairement guttural ; mais de nombreux arrangements de claviers apporteront une touche mélancolique très pertinente et quelques vocaux plus clairs aéreront suffisamment l’ensemble pour mettre en exergue la lourdeur du tout. Certains passages (notamment sur « In Absence We Dwell ») s’avèrent même d’une beauté poignante.

Le résultat global est convaincant à défaut de proposer des idées neuves.

Author: Alain Lavanne
Iye Zine

In questi ultimi anni la Russia si sta rivelando un’autentica fucina di band dedite alle forme di metal più plumbee e malinconiche, ovvero il doom nelle sue varianti death e funeral.

Questo movimento in costante evoluzione trova il suo naturale sbocco in un’etichetta autoctona come la Solitude Productions, che ha avuto il merito di inserire all’interno del proprio roster una serie di nomi che stanno contribuendo a riscrivere la storia del genere.

I Mare Infinitum sono alla loro prima uscita discografica ma certo non possono essere definiti dei debuttanti in quanto i due musicisti coinvolti nel progetto sono piuttosto noti nella scena dell’ex Unione Sovietica : Homer, polistrumentista ex-Who Dies In Siberian Slush ed il più noto A.K. iEzor batterista e cantante di Comatose Vigil e Abstract Spirit.
Inevitabilmente il genere proposto dai due non si discosta di molto da quanto prodotto dalle band appena menzionate, ma è comunque apprezzabile il tentativo di inserire momenti di discontinuità rispetto agli schemi compositivi consueti, grazie alle frequenti aperture melodiche e all’utilizzo di diversi ospiti alle clean vocals in alternanza al canonico growl.

Il doom in fondo non è genere che si presti troppo a voli pindarici da parte dei suoi interpreti e per certi versi la fedeltà ai modelli consolidati costituisce garanzia di fedeltà e dedizione totale alla causa della “musica del destino”.
Il metodo ideale per assaporare le sonorità funeree ed allo stesso tempo emozionanti di questo lavoro è quello di approcciarlo con la giusta predisposizione mentale, rinunciando a ricercare chissà quali novità stilistiche o compositive.
I Mare Infinitum assolvono pienamente alla loro missione con un album ricco di momenti delicatamente malinconici, sia con brani virati verso il death/doom, come l’iniziale “In Absence We Dwell” o in “Beholding The Unseen”, così come in parte della strumentale “November Euphoria”, con i suoi passaggi prossimi al quella gemma preziosa che e’ stata “They Die” degli Anathema, sia con due episodi decisamente più orientati al funeral come “In The Name Of My Sin” e la superlativa “Sea Of Infinity”.
A chi potrebbe aver da obiettare nei confronti di un giudizio del tutto positivo, rimarcando la scarsa originalità della proposta, ricordo che ci sono band come Motorhead e AC/DC, tanto per citare due nomi “qualsiasi”, che propongono fondamentalmente lo stesso disco da 20 anni eppure nessuno osa batter ciglio in nome di una effettiva e consolidata integrità stilistica; la realtà è che, se un album è bello, lo è punto e basta.
Se in questo o quel passaggio i Mare Infinitum possono ricordare i Comatose Vigil piuttosto che gli Ea, ma riescono a condurre saldamente per mano l’ascoltatore all’interno degli oscuri meandri evocati nei loro brani, significa che l’obiettivo è stato raggiunto pienamente .

Io non mi sono ancora stufato di ascoltare “Sea Of Infinity”, provate a scoprire se vi farà lo stesso effetto…

Author: Stefano Cavanna
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