The Local Health Unit of Pescara has issued notice inside to the permanent staff of ASL Pescara belonging to the Fund , For the use, in the calendar year 2011, paid leave (150 hours), for the right to study . acceptable in the number of applications is equal to 3% the number of employees in service on 1 January 2010. If requests exceed this limit, it delivers a list. The criteria for the formulation of the same, the forms for the submission of the application and other information are shown on the notice available on the official website of our company ( www.ausl.pe.it click " business records ") Any questions may be richiestiall'Ufficio Human Resources Management at the numbers 085 425-3061 -2. Applications will not be accepted if no forms prepared by the office of human resources management.
DEADLINE:
Monday, December 20, 2010, 12 pm
The secretary of the CGIL PO Pescara Penne and Peoples to remain for any information on this.
Hands up who knows the Manticore: who is raising his hand in this moment all my respect. This is a Danish band, now active for several years and having a list on the back label, including works of all respect. Fad started more than a decade with a power enough canon, European-style, but we can already see some changes from the standard, then you are in an advanced sound violent but much more melodic. A sound that owes much to American power and the power of Iced Earth Blind Guardian Teutonic masters (all mixed and taken with great taste and personality). The only misfortune is that this great band that I have never been able, willing or unwilling, to break it deserves. In fact, there is still a group that we can not count among the "big" the metal scene, but which deserves, objectively, a place in this great podium. In 2010, again, with this seventh album, as usual, full of ideas, that does not betray the expectations, and that, basically, no big innovations more than in the past. The coordinates are always based on a power metal thrash heavily peppered with explosions, all delivered in a sound-based violence to which it is impossible to remain indifferent. And so Safe is also why, where, however, are turning more and more abundant towards a thrash sound, much heavier than before. If the trend (of the market, above all) by many metal bands, there is an approach to sound more melodic and calm, it is not for the Manticore, which seem to impress more and more, stimulating the dirty side and rough and removing a small slice of the melody. So, good and laudable intentions, though, as fans and "follower" of the band, I feel I can say that the album did not hit me like other masterpieces of the past. The peaks of quality achieved by the amazing 8 Deadly Sins or The saga of horror Black Circus I & II, are not affected by this new effort, while remaining a good album that you can listen with pleasure. The tracklist is a cascade of hot metal: 7 pieces for 50 minutes of thrash-power class and power, no ballads, just coming off melodic. This is safe for you.
Track By Track:
The attack was entrusted to "In The Abyss Of Desperation" , which begins with a thrash riff, then switch to more melodic pieces and other heavier, melodic chorus at the right point and an excellent guitar solo, accompanied by an omnipresent double bass. After all, this is a very classic song at Manticore, and as such will surely appreciated by lovers of these sounds. The following "Silence The Freedom , follows on the heels of the previous track. Of note triplet rhythm and a slight decrease in speed, enough elements uncharacteristic of the group's sound. In mid-song has a brief interlude slowed down, almost oriental flavor. Final entrusted to a massive riff that fades, accompanied by a pounding double bass. Despite the good workmanship of the piece, the music flows without leaving a particular impression on his head. We continue with the next "Complete" , a riff that opens up high-impact, heavy, syncopated, and then give way to great melodies accompanied by a light-based keyboard. So on a slow and dark structure, follow one another very good riffs, but with some hints and insightful progressive acceleration in the chorus. However, the latter a bit sin 'of anonymity, and disperses nell'incedere the song, which becomes deprived of the right thickness. From here on, the songs become more interesting and restores the quality of the disc: "From The Pain Of Loss (I Learned About The Truth)" is the single chosen for an earlier album, and is accompanied by a video tamarrissimo they appear to excess flames surrounding the band, intent on playing. Leaving aside this aspect, the track (the shortest of the album, 4 minutes and 37 seconds) is certainly very valid. Once again, the rhythms are generally slowed, leaving room for a heavy gait and matrix thrash with melodic parts in the vicinity of the solo and chorus. Interesting responses growl, deep and extremely malignant. "A Lake That Drained" is, in my opinion, the most successful song of the album. Although there is nothing that shines a new light, the pace once again be damn fast, powerful, and returns some 'the scent of the last works of the band. The chorus is the most beautiful things can be heard in an album by Manticora: choir, melodic and dark like few others, known to capture the attention and is implanted in the mind from the first listen. A good song then, that once completed, gives way to another highlight of the disc, or "Carrion Eaters" : song by the beautiful melodies, opened with an amazing syncopated guitar riffs. The chorus follows the ingredients to the refrain of the song before, or double bass, choir and a certain intrinsic melodic darkness. After this excellent song, which, however, does not add anything particularly innovative sound to which we have become accustomed Manticora, The album closes with the title track "Safe" : In this long suite, which touches the 14-minute duration, there is a bit 'of everything that made it great and especially the music of Danish combo. After a short introduction of clean guitar, the song (basically a continuous profusion of metal free-range) continues, reckless, through various shades and changes of time, while maintaining a purely "metal". So, for the first 10 minutes, little room is left for melodic, which, however, often we would expect to find in a metal-suite. It 's a constant succession of angry riffs and embedded in art, prevent voltage drops. The last 4 minutes are entrusted to a more slow and melodic, driven by a light acoustic guitar. So ends this further proof of the good band, but does not add anything too new for the genre began.
Techniques and Concluding remarks:
The entire work is a music very compact and coherent, without excessive voltage drop. However, the major limitation of the album is that this leads to consistency in the long run, in a certain sense of repetitiveness. The lack of ballad negatively affect the rest on this issue, bringing the album to be heavy enough in his lifetime. In addition, as mentioned above, even after repeated plays, songs, in principle, tend to easily print in mind (some exceptions). Despite all this, it is still a very good job, made with great technical skill and a lot of inventiveness in the succession of guitar riffs and arrangements. The singer Lars, although it is a very special voice, instantly recognizable, which gives a dark dimension to the music of Manticora, however, weaves the vocal textures that appear to be often flat and repetitive. But basically, this has always been a feature of the band's sound, which, without Lars, not buy more than size that makes the dark Manticora so unique and special in their kind. Ovation of respect for the other musicians: the pair of axes vortices guitar weaves and ispiratissimo always excellent, and the rhythm section works with extreme surgical precision, with a name inspired and always hides behind the monstrous. However, in this new Safe at both scores and production, the battery does not stand out as in previous releases, where instead he was very insistent and certainly more effective and dominant. The scores of rare and keyboard are poorer than before, probably also addressed the choice decided by the steering thrash sound. A final word on the cover: the symbol of Manticora on a completely black background. So nothing more obvious, a very negligible cover, which does not reflect what is the quality of the album. Artwork separately, also taking into account how difficult it is, nowadays, able to compose an album that sounds fresh and on the whole, quite original, and taking into account the innate brilliance of these five musicians from Denmark, we can only that decided to hoist a thumbs-up for Manticore.
Tracklist:
01. In The Abyss Of Desperation
02. Silence The Freedom
03. Complete 04. From The Pain Of Loss (I Learned About The Truth) 05. A Lake Drained That 06. Carrion Eaters 07. Safe (Searching / A Miracle / Fading / End (less)
Avenged Sevenfold . Only to pronounce the name of the American band, three quarters of the population Italian metalheads feel shivers of disgust and contempt. It seems, in fact, that the good old American boys are particularly despised in our country, perhaps for that trend their fashionable and image, which wants to represent them as emo-metal-core band. And maybe, just a bit 'are parties with a couple of albums of metalcore, if you like, teen, melodic, pimp and biting, often supported by heavy brackets punk-hardcore (hear the song Streets to get an idea). After then, metal album is not essential for people, but still valid, they surprise in 2005 with City Of Evil: truly remarkable album, that begins to mix metal more "mature" a lot of class and technical ability with a usual emo-glam -punk. The successor is the namesake of 2007, trying to follow in the footsteps of the very good predecessor, without, however, able to enchant the right way. And now, after the recent and untimely death of the excellent drummer The Rev, the band returns with this swinging Nightmare album dedicated to the memory of that failure drummer. Who are they, then, Avenged Sevenfold in 2010? American conviction of having a band behind a glorious success, but that does not appear to ever be able to shine as it might. In fact, this new birth record seems to confirm this: there are songs that are included, since the first listening, too wasteful and pretentious, almost like a constant search, forcibly, of a riff that face shot of who can be catchy. Riff, however, is slow to arrive, or get better and not enter, thereby reducing the disc to a mass of many (bad) ideas badly blended together. Something good There is undeniable, but it seems already that good creative flow of the band has sold out with the first 3 albums. I hope to be wrong, because the band is technically valid and may be able to surprise us again, which, frankly, has failed to do in this new album along. Let us now precise analysis of the disk.
Track By Track:
The album begins, paradoxically, with one of the best songs of the platters, good title track "Nightmare" . Good slow start, with dark melodies and decadent, that leads immediately into a heavy and slow riffs thrash matrix-Southern. The chorus is melodic and spot on. Excellent central interludes and solos seasoned this song, which, though not anything that makes a miracle, undeniably gives hope for a good return of the band. However, from now on, the expectations will be denied. In fact, already with the next "Welcome To The Family" , one can see few ideas and no bite. The pace is still committed to a mid-tempo, and soon see a pimp and melodic chorus, almost collegial punk-oriented, "as many times we find in their discography. Although the piece is pretty obvious, you can listen. The first true and complete flop is as follows "Danger Line" : Do not leave any room for interesting ideas or some well-arranged solution. Everything sounds so utterly trivial, and dragged and without a hint of emotion. Embarrassing and decidedly out of place the piano interlude (appearing even the trumpets!), Which continues until the end of the song. What's more, the vocal lines of M. Shadows make it even flatter. In short, a piece of dull and insignificant. And the time of the first (semi) ballad of the album: "Buried Alive" . As regards the structure of the song, it almost seems that the band wants to rebuild the legendary One and Fade To Black of Metallica. In fact, we have a very good first part melodic, slow, sweet, and inspired arpeggios, accompanied by a chorus distorted more energetic. Too bad that, in this case, the next part of "metal" is somewhat 'predictable, monotonous and with little imagination, coming to deprive the entire story of the label of "good song". The next "Natural Born Killer" is the song faster and thrasheggiante disk. A song in the classic style Avenged. A good start, as well as in the solo guitar arrangement, but otherwise is a succession, once again, the (few) good insights mixed, with no apparent logic, other confused. One song, then, that could be developed in a manner far more inspired. Rather insipid the next melodic ballad "So Far Away" : Once again, we face a song that, although losing to listen, hide the good ideas that seem, unfortunately lazy, not being able to explode and be assertive. We are witnessing a revival in the end, but its contribution is not enough to fully appreciate this one episode swinging. An elementary introduction of clean guitar introduces us to "God Hates Us" , which explodes into a fast riff and bad. In this song reappears in the old growl M. Shadows abandoned after the first two discs. The song continues on track thrash-core American-style (at times, it almost seems that the band trying to ape the Panther, with seizures of bland guitar), representing an episode only managed sufficiently and, ultimately, rather than an end in same and insignificant, to restore the fortunes of the disc. As if what we have heard so far were not enough, the band we propina well after 3 (!) More slow songs, the quality of which is challenged by ideas and often drag trivial: it seems as if the band is exhausted and convinced had given to his own people all the best that could offer, so pulling out of the songs absolutely tired and pale. The terrible triptych consists of: 1 - "Victim" , too melodic, drags on for longer than 7 minutes and 30 seconds, not adding anything new to disc, if not further evidence that the band is a considerable lack of good ideas. The mold of the song is almost geared up for a soft-pop-rock radio. Yet another misstep very negligible. 2 - "The World Dies Tonight" leans wearily along the lines of the previous track. Needless to say, come to this boredom prevail over any small hope to hear something really good. 3 - "Fiction" , really strange and unusual piece. This is a song written by the late drummer The Rev, piano completely, at times agonizing, scores between pop, and other parts darker. Ok, Avenged dear, we admire the courage to risk putting a song so special, but the problem is inserting it into a tracklist already thoroughly undermined and unnecessary, even after two consecutive ballad. But beyond this, the real problem is that the song is absolutely inconclusive and, like many others, is lost in his inconsistency, and concludes the dance leaves a bad taste in my mouth. We are in the end, the last song of the album: the long (11 minutes in length) "Save Me" . Finally, a good song, which, incredibly, it hits and not tired. But now (and thankfully) we are at the end of this long drive. The suite, in its length, finally shows very good ideas. Heavier pieces alternate with parts and almost symphonic scores in the classic sound of the group. Significant acceleration in the solos, followed closely by a part where we hear a Mike Portnoy finally inspired, that very much recalls his personal way of playing in Dream Theater. A slower and inspired the final song closes the entire album. Too bad the rest of the album is not up to this last episode.
Techniques and Concluding remarks:
Here we are at the end of this hard disk. One thing worth noting: the host (right now, apparently, fixed component) selected to replace the regret The Rev on drums, Mike Portnoy is already very well known for her performances in progster Dream Theater (which certainly need no introduction). Who knows Portnoy knows that he has no problems to relate to the playing of the late The Rev, who was still a great drummer, with high technical quality and taste. But it must be said, the performance Mike, on this record, it is absolutely worthy of his fame and his own abilities. Perhaps he expected much more. Another demerit of note, as mentioned, goes to singer M. Shadows: her voice does not shine a particular skill, but winning on the charismatic. It 's a dirty distinctive voice, high-cut and "sleazy" (what I mean?), But lies, unfortunately, on the vocal lines often flat, monotonous and ultimately very repetitive. That said, the key remains the most painful of heavy rock songwriting, as already mentioned, confusing and lacking in good invention. So much so that even over there I could not define a genre precise, channeling all in an eloquent but, alas, dispersive "heavy metal" (basically, everything comes from there, no?). For the rest of the band travels on a good production, excellent technical levels, such as the lead guitarist Synyster Gates, or the above-mentioned special guest Mike Portnoy (no need to remember that technically is a monster?). The cover image is of course very interesting and appropriate to the title, but not enough to revive a hard fragile, so as not enough just 3 or 4 good songs out of eleven tracks in total. We must have more confidence in the band, is to be hoped that the heads are going one more than they should (or more than they have already done), and manage to pull off a quality job than this Nightmare, who sincerely believe in the future rarely turn on my mp3 player. While waiting for the turn, I return to listen to me ... or maybe City Of Evil, Dream Theater.
Genre: Extreme Gothic Metal / Symphonic Black Metal
Introduction:
Here I am, with the promise of the new album review the most famous vampire of metal. In fact, in this ardent and prolific 2010, carves out a space in the new releases also a band I've always had a good relationship, the British Cradle Of Filth: pillar of the symphonic-extreme-black-gothic-metal (and so with usual labeling), and the extreme metal scene in general. Let's start first of all have a hint about the history of this group, to understand, in short, the stylistic evolution: they start in the early '90s, devoted to a violent black metal and symphonic mold, and, lyrically speaking, totally dedicated the dark and romantic themes of vampirism, taken always in a poetic and literary. After years of excellent albums and published, we are seeing, since 2004, a flop compositional the period with more "gothic-oriented" of Thornography and Nymphetamine, two albums of adrenaline too deflated, poor and good ideas in their own way, too "commercial". A strong sigh of relief we find him with the second last and surprising Godspeed On The Devil's Thunder, and now, A 2010. Q. We are in front of a (final?) Confirmation of their newfound polish at songwriting. Yes, because Darkly Darkly Venus Aversa, is a good album gothic metal sound extreme, the group reports to the glories dell'osannatissimo Midian, or colossal Damnation And A Day In terms of speed and composition, the album is really a shot in full face, and although the ideas are certainly not too original or innovative (young, old glories as Principle or Dusk will never return), the songs manage to slide, with a certain fluidity in the ears of the listener. Merits of a decidedly evil reborn and thrasheggianti blackeggianti shades, which, for some time, he did not feel in the music of the British. Lyrically, it's a concept, as usual, well written, focused on the figure of Lilith, a female demon associated with the storm, the death and misfortune. Immediately clean the area from perplexity fans all over the world will have been horrified at the exit (the previous album) of the individual Forgive Me Father (only) within the highly questionable track record, which he did immediately reminded of the quite false step that brings the cumbersome name of Thornography. But do not be alarmed: in fact, this is the new annoying in a work of highly respected and objective of undoubted quality.
Track By Track:
We pull already a sigh of relief and comfort, accompanied by a fixed idea ("we finally") listening to the first track: "The Cult Of Venus Aversa ". It begins with an introduction to symphonic and atmospheric, played by the ubiquitous Sarah (from years in the ranks of the band). No time to think, and there is a superb shot in the face of attack blast-beats out of control. The song is a continuation of the excellent riff between black and some more thrasheggianti a rug too symphonic never intrusive, and orchestral interludes. One of the best tracks on the disc. Still very much altered for the malice with which the band once again, continue with "Foul One Step From The Abyss" . After a piano intro and chorus (I remember the first album), the ingredients do not change, and is still a succession of sonic earthquakes through devastating riffs and precise. "The Nun Habit With The Astral" not save your ears: a thousand shot begins on a rather unconvincing monotone guitar riff, but the result is definitely a success. The verse travels on an array of death metal riffs, the bridge slows down to give way to an atmospheric piano action, and the rest is an abuse of power to blast-beats and riffs Bonecrusher. Orchestral work inspired by the report, making the song dark and fascinating. Hell sound continues with "Church Of The Sacred Heart" song that almost 4 minutes, where, again, is a massacre. Just when the ear begins tired of so much hysteria, comes a handful of riffs slowed down and more reasoned. The coordinates of the song continues, however, hammered through the fresh death-black metal. And so we come to another of the best tracks on the disc: "The Persecution Song" . Just where the Cradle had failed five years ago, with that, unwelcome, place of gothicheggiante Nymphetamine, try to tread the ground. The song is stunning in its gait. The mold of the song is excellent gothic metal, and the riffs are more slow and atmospheric, at least until a little over half the song, which reappear, not shy, blast beats and pull speed exciting as it must. The song, after taking up the initial riff gothic, ends with a brief air-orchestral work, so dear to British vampires. Definitely a good song, that breaks the monotony of the initial pieces glimpsed. And 'round the "Decieving Eyes" and after a thrash attack, back to the usual tracks that we have already spoken. The song is quite interesting, if only for the many riffs that are followed in a flurry of accelerations and decelerations, action-piano ballad, and well arranged orchestrations, as always, never too much in evidence. The song, ultimately, is less brutal and more varied than the first pieces. The battery starts acting up note to the next big "Lilith Immaculate" , a good piece from the usual horror-black symphonic atmosphere that haunt the album. A slightly out of tune, in my opinion, is the choice to enter a particularly airy and melodic bridge, which wife is ill with what has been heard. But it is noticeable, however, the attempt to insert some more element in their music. The song slows down in the middle, with a beautiful symphonic break the mold, and then resume the initial riffs brutal. The next "The Spawn Of Love And War" be appreciated for a plant predominated early thrash metal, even if, in his long series, there the usual orchestral parts, and slow-style gothic (whose theatricality and dark are always insured) riff alternating with more murders. However, in my opinion, is a song quite negligible. In other words, the primordial impact of the album starts to not be so scratchy. "Harlot On a Pedestal" , with its dark melodies, brings to mind some old masterpieces of the band, and between thrash and pieces coming off gothicheggianti, appears to be a remarkable piece of workmanship, certainly more valuable than the previous. And here is the song "x", unbearable "Forgive Me Father (I Have sinned)" that little to do with the structure of the album, and brings to mind the worst of the band, so that (rightly) discussed Thornography. The pace is much slower than in the rest of the album, and from this point of view is not bad, given the heavy sound of the disc. However, the song fails to shine, and (with attached video clips) would give credit to those who pointed out that he sold the COF and ridiculed in recent years. Fortunately, however, as already mentioned, this is an isolated incident. Closes the album, the longest song of the album (7 minutes and 16), "Beyond Eleventh Hour" , who, after an intro played by Sarah, is a continuation of through the usual ingredients throughout its duration without adding more to this delicious new issue license plate Cradle Of Filth.
Techniques and Concluding remarks:
I confess that I found it difficult to describe these 11 songs. This is due to the fact that the music of Cradle (like that of many bands in the extreme view) does not follow, in song structure, precise patterns. The classic song format, in most cases, does not exist. Therefore, the riffs and changes in the atmosphere are very many, and it was difficult to put on paper what this music. That said, we can say that COF is a band finally reborn, that shows even know how to write music and intelligent, no less important element, who can be scathing, wicked and damn bad. Dani is no longer sure what it once was behind the microphone, but his interpretations and his scream-growl is still in good taste for music and essential horror of the British combo. Technically, I can report the unknown drummer Martin Skaroupka, a true war machine, which, with its powerful and precise blast beats, with its rich passages and, in some albite, even very technical, is, in my opinion , the best drummer in the group has ever had for this essential disk, as it has been for the equally successful Godspeed. For the rest, the band makes its precise work, with no stand out for special gifts too. The orchestral parts also are perfect in their giving a more in depth to the tracks, but, as mentioned above, do not cover the other instruments. The guitars, in fact, are very present, and, therefore, serve as the orchestration of a perfect outline, however, essential to the charge of bad music on this album. The production, from the watershed that was Nymphetamine is objectively improved, and, since that is pompous, brilliant and does justice to every sound. What else to say, it seems that everything is perfect. However, the only major flaw of this album is the fact that the songs are able to listen and to let slide, but did not deny that certain solutions are quite similar. Therefore, there is a hook or a riff that would allow us to distinguish them from each other perfectly, and this, in the long run, may cause a feeling of boredom in the listener. Fortunately, the songs are still well balanced and designed, and managed to limit the yawns. Two words on the cover: the image is very nice, dark and evocative. It is certainly not a masterpiece, but it fits well with the atmosphere and themes of the disc. Fans of the new course, but also the old way, then enjoy this new heady effort of the British, or at least give it a listen, and understand that the Cradle still have much to say, hope it does not fall into some new poor choice. Tremble, British vampires are back.
When you are old, in the evening, candlelight, seat by the fire, reeling and spinning, Direz, singing my verses, you wonder: "Ronsard celebrated me when I was beautiful" At
, you'll servant hearing all this news Already under work half asleep, Who does the sound of Ronsard s'aille awoke Blessing praise your name immortal.
I'm under the earth, and without phantom bone, myrteux In the shadows I will take my rest: You'll be at home an old crouching
Regretting my love and your proud disdain. Live, so my advice, do not wait until tomorrow: Pick today the roses of life.
Quando Sareta Vecchia, the will, went candela
seduta presso it fuoco, e dipanando filando, ricanterete the mie poesie, meravigliando: Ronsard I celebrated at the time that I was beautiful.
Servant who hear this story then you will not, overcome by fatigue already half dozing, who at the sound of my name does not open your eyes a little, and praise your name so lucky star who once had.
I will be in the ground, naked spirit among spirits, take my rest under the shade of the myrtles. you by the fire an old ineurvita,
my love and 'the proud disdain your regret, Live, listen, do not wait Diman: seize as of today the roses of life.
RMRilke was one of the most important German poets of the twentieth secolo.Tra his masterpieces are the Duino Elegies, written during his stay at Duino (Trieste). I propose to you a part of the first elegy in which the 'Love is sung in its most pure dramatically, that is no response, such as that sung by Gaspara Press that kept intact, even in the abandonment, the intensity of sentimento.L' love is released from any content quota, only to be a charge, such as that collected in the first arrow to be shot.
... Yes, of course, the springs were in need of you. Some
star expecting you to find each other. rode a wave from the past, here, or while you pass under an open window gave himself a violin. All this was done. But you held it? So always distracted waiting, as if everything t'annunciasse friend? (And where would you seek refuge if the big, strange thoughts come and go in you
and often are, on the night?) But if you yearn so, he sings the love. Of course, it is not enough immortal their feeling known. sings them, the abandoned, almost envy you, you seemed so much more lovable of place. Take it always the unattainable celebration; thinks, the hero endures, even death was only a pretext for him to be: his last birth. But the heroines of love itself again if the exhausted Nature as if there were no forces twice to accomplish this. You sang quite of Gaspara Stampa, that some girl which escapes the beloved, exalted example of this love, feel, can I be too like her? as old sorrows, should, by now, become the most prolific for us? time is not loving, we are liberated from being loved, support him, fuming: as the arrow is holding the rope, all leap in the collection, to overcome them? That you can not stay, no where.
The return of the Bards, punctual as the German Swiss watch ... ..
Name Album: At The Edge Of Time Label: Nuclear Blast Release Date: July 30, 2010 Genre: Epic Power Metal
Introduction:
Summer 2010, from hardcore metalheads will undoubtedly be remembered for the release of new album on the market of the world's most famous bard. There they go, on time, after the (long now) usual four years to break record with this new fresh disk and definitely good and interesting. What can you say about the greatest band, along with fellow countrymen Helloween, power metal scene of the entire European and world? We can say that, from the now distant 1988, album after album managed to churn out the work more interesting, without ever falling into redundant classic style and abuse of power metal, but going instead to always seek to introduce new elements their sound, to make it very special and certainly unique. And the same can be done to the new At The Edge Of Time. Stepping back, back to 2006: the year in which he emerged "A Twist in The Myth." A good album, in which the rhythms were basically slowed down to go to focus on a more sound related to testing and arranging. 4 years later, the Bardi of Krefeld seem to want to do, in terms of songwriting, a step back, and, paradoxically, they also do a forward, as this is what the fans, actually, wait time: sounds are more scratching, some traces back to be voted on at a speed power-hungry old-school, and also in terms of lyrical back to old roots. If, in fact, from that discussed (but definitely amazing) A Night At The Opera in 2002, subjects were moved to the deeper issues and intellectuals such as the epic, philosophy or religion, now the main themes return in touch mostly literature and the fantasy world, so dear to the German group (who, for example, can not remember their masterpiece album, Nightfall in Middle-Earth?). This can be seen, even giving him a fleeting look at the evocative images, drawn in the booklet and the cover (beautiful artwork by Felipe Machado). Another touch of class, which certainly gives an aura to the masterful music of the bards, is the use of the orchestra in Prague 2 suites, surely among the most remarkable and representative traces of the disk. We continue, therefore, with what it is, and must be, the argument supporting the review: the evergreen music of Blind Guardian.
Track By Track:
Bards already decided to surprise the big opening placed in one of their best songs and definitely the best of the entire disc. A song like Sacred Worlds ", born on the soundtrack of the game Sacred 2, and then very well adapted and enriched. It opens with an unexpected opening symphony, played by the orchestra of Prague. The tension is getting higher, and a rush of emotions you feel so inspired again Blind Guardian and appealing. Riff carrying the song explodes, always accompanied by an epic symphony. The suite extends to over 9 minutes long, alternating between aggressive parts, symphonic solos (as always, not particularly fast, but traveling on the coordinates are always fresh and delightful melody) and slow down other parts, all depending on the superlative refrain. Pure art for the ears! The journey continues with "Tanelorn (Into The Void)" , and is a reference to the past of the band, made up of double bass, high speeds, aggressive verses and a lot of melody. This track, then, is no exception and does not disappoint. From the time they did not feel so angry Blind Guardian! The track runs over coordinates power-thrash, almost repetitive in certain situations, but we also consider the chorus to slow down the pace and raise the position of the melodic song. "Road Of No Release" is a successful mid-tempo, in which peeps a shy piano (an element used in this album than in the past of the band). Changes mood of the song and its good arrangement, without doubt within the voice (with the usual chants of "the Blind"), allow you to enjoy this sweet song is particularly innovative, and full of pathos nell'azzacatissimo chorus. We return to press the accelerator to the next weak link in the chain. In fact, we are faced with what, for myself, is the least convincing performance of the album: "Ride Into Obsession" . Even this passage refers to the past, but after several listens, it still fails to fully convince; aided by a rhythm section too tight and strong (even the repeats), a battery too mechanical, and in general a feeling of repetition and "heard" that the song lacks the impact that right should be given. Even the best can make mistakes sometimes. Fortunately, we think the next "Curse My Name" to cheer the hearts of many fans of the band, around the world. This is the usual sound-track medievaleggiante in every album, from Tales From The Twilight World. Rich means atypical for a metal band, continues to secure and graceful melodies worthy bill. Perhaps, it adds nothing new to the discography of the bards, but you can listen with immense pleasure. The second part of the hard part so fluctuating with "Valkyries" , a piece of alternating dark moments with moments more airy. With this song, the Blind is reapplied to the experimentation, we have heard in previous record, so the pace slows down in favor of greater sophistication in the arrangement. However, this track fails to take off as expected, representing another (unfortunately) weak point of the album. From then on, the road is all downhill. In fact, the continuation is assigned to one of the best tracks on the disc, the following "The Divine Control" , mid-tempo ride very strong, with some solutions really melodic and choral hit, accompanied by an atmosphere quite dark and full of emotion. In contradiction to this darkness that pervades much of the disc comes "War Of The Thrones" , piano and acoustic ballad very special and very successful. Shall, however, the refrain riff and a very "happy" and airy melodies, which, we repeat, is posting a bit 'general atmosphere of the disc. Despite that, taken individually, is a song very enjoyable and interesting. The next "A Voice In The Dark" , chosen as lead single of the album, is literally a blow in the teeth! As well as another decisive return to the past (this time fully successful) attacks with one of the most aggressive riffs and pungent history of Blind Guardian, and is continuing to track Thrash Power-up to the beautiful chorus that explodes and crashes straight into your head, not to leave it. Among omnipresent double bass, precise guitar solos, voice hoarse and scratchy, then we see another high point of the work. The closure is entrusted to another of the 9-minute orchestral suite life: the stunning "Wheel Of Time" . Many parts are assigned to the oriental melodies, which alternate with epic and majestic moments (like the pompous refrain), and others simply orchestra. Although, in my opinion, slightly less than the initial "Sacred Worlds" is still a very successful suite, satisfying and perfect as a few to round off this good return of Hansi and associates. Two words on the second disc on the limited edition: contains some tracks from the demo version and an instrumental version of a cover-orchestral "Wheel Of Time." Well turns out to be pretty useless and uninteresting.
Techniques and Concluding remarks:
From a purely technical point of view, sound, sounds, compared to the previous album, are much better. Equalization are set to appear taller and more biting and adrenaline. The technique of the musicians is excellent as always and as you would expect from a great metal band worthy of that label. Mention of honor for Hans, who, with his voice hoarse, sometimes dirty, sometimes clean and sweet, it is an undeniable trademark for this band still offers excellent performance both in the vocal range that interpretation. Too bad that this is only on disk, while his live performances are, unfortunately, less. Finally, the guitar solos, as already stated, do not enjoy very high speeds particularly complex or technical, but they are, as usual, sophisticated and very interesting. That said, let's consider lastly At The Edge Of Time. Overall it is a work good and inspired, you can not say otherwise. However, some weak episodes here and there, some solution too repetitive or poorly developed, means that the general attention by the listener, fails to be maintained throughout the course of the work. It 's a pity, because, on the other hand, this album contains some of the most successful episodes in the career of the bards. From huge fan of Blind Guardian, is a pain for me to write these lines, but, unfortunately, is a feeling which I find even now, riascoltanto (for the umpteenth time) this album. However nothing irreparable, because the disk, as already stated, it is still good and worth listening, with compositions that other groups would be able to remotely power metal type. So, welcome back Blind, and who knows one of the usual four years of recording silence, do not be a way to crank out a new masterpiece, as it were Imaginations and Nightfall. Anything is possible, when speaking of the best.
RHAPSODY OF FIRE - The Cold Embrace Of Fear (A Dark Romantic Symphony)
... Continue the saga of the Dark Secret, colder than ever ...
Name Album: Fear Of The Cold Embrace (A Dark Romantic Symphony) Label: Nuclear Blast Release Date: October 19, 2010 Genre: Symphonic Power Metal / Film Score Metal
Introduction:
Another great release of 2010 that I would report and review of this EP is, tagged Rhapsody of Fire. Strong excellent success, even commercial (it arrived around the 30th place in the Italian, and a metal band is no small thing), the latest comeback "Frozen Tears Of The Angels", the Italian band, brimming with ideas Perhaps this time more Florea than ever, it shows a rare gem of class and style, giving an example of their cinematic bombast and Film Score Metal. The Cold Embrace Of Fear Why is this: a single suite of 35 minutes, divided into 7 parts that accompany the continuation of "The Dark Secret Saga", constituting, in effect, the 4th chapter. Electric guitars and the typical speed of their power-speed are overshadowed. There is one thing to say: Those who love the band passionately, unconditionally love the new EP. Who hates it, or simply the accusation of being particularly vulgar and ridiculous, no doubt find fault with this work. The reason is obvious: if the previous and latest album was, however, and undoubtedly, a disc of great symphonic power metal composed and played with controcazzi (as currently around if they feel a few), this new delivery record has every intention of wanting to be a real film translated into music. Here we find many stories and stop and not symphonic metal proper. In short, is a product, probably intended for hardcore fans only, which certainly will enjoy and delight (including myself, and I do not do mystery) in front of this particular work. One last thing to say before track-by-track: the adjective "romantic" of the subtitle, nell'accezione nineteenth-century term, in my opinion goes perfectly with the darkness and atmosphere cold that pervades throughout the entire suite.
Track By Track:
Needless to say, the suite opens with narration and music purely cinematic, with the first of seven acts: "The Pass Of Nair-Kaan" , in which a storm Snow is the scenario that is presented, with the actors-narrators facing an avalanche of snow. Symphonic music increases the tension and takes us in the middle of the situation. The brief second act, "Dark Mystic Vision" , lasting even 2 minutes, traveling along the lines of the first (so why, I wonder, does not make a single act?). Introduced here is a beautiful symphony, the character dark and epic, and the atmosphere begins to heat up seriously. We arrive at the highlight of the EP, which is a song by 15 minutes titled "The Ancient Fires Of Har-Kuun" , the hub of the entire suite. This is a song that alternates between several aspects of the music of the Italian combo (again, but apt) symphonic introduction, aggressive riffs and biting, hints progressive, acoustic verse sung in Italian, bridge and chorus with increasing component operatic-symphonic intermezzo solo As always, quite repetitive, but inevitably engaging (note in this regard, the section of the keyboard and guitar solos on the final). In short, there is everything from Rhapsody Of Fire we can (And you should) wait. They calm the waters and sounds very dark and atmospheric introduce the fourth act, "The Betrayal" . This is an interval of 4 minutes, in which, through stories and symphonies, witnessing first hand the betrayal of Tarish (I prefer not to go over well on the merits of the story, could make this review too long-winded and boring). In short, one of those tracks in a non-fan would rather avoid, and which can not be heard outside the context of a purely narrative. Traditional instruments reproduce any of the other highlights of the disc: the fifth act "Blood Red Snow" . As can be seen from the title, continues the tradition throughout (Must be said) fieramante rhapsodiana to insert each disc into a piece sung in Italian, which does nothing but raise the cube the magical, poetic and epic musical proposal of the group. We are faced with a completely acoustic song, complete with flutes and gentle guitar melodies. These melodies, which often find in the discography of the band, can be commended: they are always well made, very exciting and never dull. In this, the ROF are, without doubt, the masters, and this should be recognized. Returning to the track, this was the only flaw, in my opinion, not being able to "explode" in the final choruses. In short, the refrain is always settles on a discrete level adrenaline, and, where one would expect a refrain final super-orchestral arrangements pumped up over thousands and over on overdubs, the group prefers to remain quietly in the atmosphere of the song. Never mind, because the song seems very interesting and just as sweet. It continues with the "manowarismo" combative and belligerent, the following "Erian's Lost Secrets , and here we return to a pure symphonic epic metal with a huge boom Fabio Lione. The track is a mid-tempo quite obvious in the structure, but it does not matter, because the level of excitement is very high, especially in the refrain bombast! The final takes speed with the main theme of the third. The closure is assigned to another track narrated "The Angels' Dark Revelation" . The task of the final stages it is, inevitably, to Christopher Lee, guest star from time already worked with the group, with its powerful prophetic voice, we start the final chorus, riff on a more epic and majestic.
Techniques and Concluding remarks:
First of all, I would strongly recommend a few things: 1 - listen to the audio in your home, loud, sitting on a couch. Will grasp very well any change atmospheric and moody. It would be pointless to listen to an album of such depth as you took care or while cleaning. 2 - listen to everything from beginning to end, not Skippa the various tracks, as it is a work in which every element is enriched by the other, where every story, every symphony, is closely related to other elements and is an important part to truly appreciate this musical film of 35 minutes. It would, for example, like watching a movie from the middle. That said, what about to close the review? Instead of wasting words on the always excellent technical quality, production, etc., now out of his ears at all, I would like to reiterate that the structure of cinematic-symphonic work, must cope with the real orchestra (as we had got to, instead to appreciate in two previous records, in 2004 and 2006). However, Alex Staropoli able to arrange everything in a superlative, even in the absence of this element, and the sound and emotional impact is equally assured. Another small note is represented by the narratives of demerit: ok, in this work, though plentiful, fit like a glove. But it should be specified that in certain moments, they seem very well kept. They do not seem, in fact, be part of a movie. And let me say that, in a record like this, they are welcome narratives, provided they are also maintained at 100% and not left in the background. All opinions are strictly personal, everyone will have different ideas about it. Nevertheless, in any event, these narratives fail, since the early plays, to make the listener understand the development of various events of this chapter in the saga. Finally, the cover, one of the best of recent times: once by Felipe Machado (as do the previous album), makes it perfectly the idea of \u200b\u200bmusic they want to propose that the ROF. And good guys, another center in your favor. For the benefit of a band that represents everything a fierce pride flag.
Tracklist:
01. Act I - The Pass Of Nair-Kaan 02. Act II - Dark Mystic Vision 03. Act III - The Ancient Fires Of Har-Kuun 04. Act IV - The Betrayal 05. Act V - Blood Red Snow 06. Act VI - Erian's Lost Secrets 07. Act VII - The Angels' Dark Revelation
'm starting a blog dedicated to my reviews, with an album that has much to say, which combined the music critics, and that in its own way, knows how to surprise.
A long-awaited and critically acclaimed album, which incorporates the return of Rhapsody Of Fire on the scene, after 4 years of inactivity due to legal disputes with the previous label. But notice the chat, the band in question needs no introduction: it is enough to reiterate that over the years has built unparalleled identity. He knew, in short, to invent a new genre, or rather shuffle the cards on the table and repeated the rules of a genre such as symphonic metal.
Even today, in my opinion, this album remains one of the best music releases of 2010. It 'amazing how our were able, despite their characteristic display of the repetition of certain musical styles now known to all, churning out work of undoubted quality. A true masterpiece, fresh, with some great new ideas, while containing all the classic elements of music and style of the band. Elements that the true fans know very well, since that day, since 1997.
Lyrically, we are faced with the prosequi in the saga that began in 2004 (The Dark Secret Saga). The Frozen Tears Of Angels represents the 3rd chapter, and the atmosphere of the story perfectly matches the adjective that best suits the sound of this: the Ice Age. Let's now begin a comprehensive track-by-track!
Track By Track:
Yes, back to the ROF are great, as you might guess from the usual intro "Dark Frozen World" , introduced by its narrator official mr. Christopher Lee. Mighty as perhaps never before, the noise impact is literally shudder through choruses, opera and classical compositions items to Rhapsody. The intro is just the appetizer for one of the most significant pieces of what are the ROF in 2010: " Sea Of Fate" , an original, beautiful and melodic, which reveals new elements songwriting in general. Excellent central solo and instrumental break. Confirm all the immediately following " Crystal Moonlight" , with its succession of atmospheres and the Goblin calls neo-progressive metal. We get to the fourth track, the "Reign Of Terror" who made the fans go crazy all over the world: The ROF show another side of their music, which becomes angry, bordering on black metal, through a powerful scream (!) Fabio Lione. In bridge, the folk-power combined with fast-scream vocals, reminds us how viking band Ensiferum, Wintersun, or Equilibrium, and in the chorus to explode back the classic elements of the combo. Cori dramatically, ultra-technical guitar passages, blast-beats, screaming vocals, an ex- sublime sound: this is "Reign Of Terror", undoubtedly the best of the lot, and one of their best songs ever, destined to become a new classic. Hearing is believing! It 'the time of the usual folk-medieval-interlude sung in Italian, and begins "Dance of Fire and Ice" , which, sung at Branduardi, fits perfectly airy melodies, flutes and acoustic instruments, has time to surprise us with a fughettas clean and beautiful guitar music in 3 / 4 of the Good Luca Turilli. The journey continues with "Raging Starfire" , and here my mind goes back to the old works of the band (Dawn Of Victory, Power Of The Dragonflame). Despite its classic, the song knows sorpendere thanks to some well chosen and always refrain damn epic. The only way is the wrong move, unfortunately, by the following ballad "Lost In Cold Dreams" : too cold and not enriched in the arrangement. Superb the verse, the song loses a bit 'of its charm in the chorus. Moreover, the band, within the ballads in the past, we have become accustomed to such masterpieces as "The Magic Of The Wizard's Dream" or "Wings Of Destiny", and it could not be fully satisfied by this new lens. Before the grand finale, we meet a "On The Way To Ainor" , which is still a reference to the past, especially the epic chorus and combative. A little 'anonymous, is a song that, in my view, Farza need more plays to appreciate. Although it could then not surprising, is still a very good song. And here we are at the end: a few minutes of Film Score Metal (with narration and orchestration arranged egragiamente), introduces us to the title track "Frozen Tears Of The Angels" . The song opens for 11 minutes in length, representing the longest episode of the album, with acoustic guitar parts and melodies "cold" and obscure the point right up to the explosion in the proud refrain, and as a last cry battle, leads us to conclude this beautiful trip to the exuberant imagination of Rhapsody Of Fire. Last note, I own the limited edition features two bonus tracks: "Labyrinth Of Madness" (an instrumental of minutes on which unfolds a single guitar solo) and the orchestral version of "Sea Of Fate" (slowed down from the original, and the component is emphasized symphonic).
Techniques and Concluding remarks:
The band, as usual, shows a benefit enviable technique, which is identified in each of the components of the Italian combo. Honorable mention to a reborn Luca Turilli, who had time to investigate his instrument, and then puts the album somewhere new technical solution and scales, in some moments, different from his usual style purely neoclassical. But above all praise goes to Fabio Lione: time does not detract from her vocal cords, and gives a brilliant performance as never before. Needless to waste words on songwriting, Luke and Alex are great composers, it is known, and although they are seated on the fees in the past (consistently) repeated, were able to surprise with many elements of innovation and this, let us say, is rare in a today's crowded music market. The production is excellent compared to recent capolvori symphony (Symphony Of Enchanted Lands 2, Triumph Or Agony), is given more weight to the guitar, and the component is decreased symphony. Amazing and full of nuances including the cover, booklet and artwork in general, by the emerging Felipe Machado (work, recently, with Blind Guardian). So congratulations to resucitati Rhapsody Of Fire, really felt your absence!
Tracklist:
01. Frozen Dark World
02. Sea Of Fate
03. Crystal Moonlight
04. Reign Of Terror
05. Dance of Fire and Ice
06. Raging Starfire
07. Lost Dreams In Cold
08. On The Way To Ainor
09. The Frozen Tears
Of Angels 10. Labyrinth Of Madness (Bonus Track)
11. Sea Of Fate - Orchestral Version (Bonus Track)
The modernity of the Courtier, five centuries after
The true please? Daughter of the policy and the 'concern for others'
In 1506, just five hundred' years ago, Pope Julius II, Bologna reduced to "the obedience of the Apostolic See," stopped in Urbino, and when hand, some gentlemen of followed, enchanted by the "sweetness of the company," they stayed for some time in the town of Marche, the court of Guid 'Ubaldo da Montefeltro. It was pleasant during the protraction, according Baldassar Castiglione, took place on the river talk-show, later escaped in the four books of the Courtier. Theme of many reasons: "The conditional and particular quality that richieggono who deserves the name ', in fact, a courtier (ie, a courtier, a gentleman), and therefore the development of a human model and its code of conduct, based on a "rule universalissima": "To fly as much as you like and a bit asperissimo and dangerous rocks, the affection and, perhaps, to say a word nova, used in everything a certain nonchalance that hides the 'art and show what you do or say be done without effort and almost without thinking. " So, with ease and lightness. This is the bone of the Courtier, which would have made stock, during the sixteenth century, other treaties on the conduct, Etiquette of the popular Civil conversation with Monsignor Della Casa Stefano Gouache. Manuals beds in all the courts and soon to be courted middle-class already, in imagination, 'bold oxymoron Moliere's "bourgeois gentleman". For those on the bestseller Europeans learned to converse amiably, to dress smartly, to sit at the table, to blow moccichini in the nose ... It was the Italians to give Codest beautiful teachings. We must "hacerse saber a todos", adapted to all: He wrote the Deuterobaldassare (ie, the Spaniard Gracian), reaching a crucial point: as knights and ladies of the Courtier had celebrated a "grace" which could only flourish in a few, in a microclimate favorable and that out of there, saddened and soon goes limp, like a flower without 'water. What they resisted, and naturalizing, were the rules, engaging, down to earth though, that a band of followers drew from the Treaty of Castiglione, for example, in companies refrain from doing "what is ugly or nauseating or fetid or avoidant ' and also by naming them not to sing, especially if you have a "voice disagreement or dissimilar" to avoid the noisy yawns yawning and speaking not "scratching sitting at the table" not "rub your teeth with your napkin 'not' take the food so greedily that therefore is generated hiccups or other unpleasant act, "and so on (all the precepts of the house). This effort refinements (these had to appear in a 'Europe still rustica) over time would follow other, more detailed and more inaccessible. The world dirozzava. The "bienséances" (as the French called it good manners) conquered every day new strongholds. But the 'obedience to the rules seemed increasingly extraneous to what had been their source: the 'ideal of cultured human perfection (although, of course, limited to a social group, in an environment) that is breathed in every page of the Courtier. From time to time someone noticed the crack and tried a little restoration. Wrote Goethe in Elective Affinities, "There 'is a courtesy that does not have a deep moral basis C' is a courtesy of the heart that is next to 'love. It comes courtesy of the behavior "Even Jane Austen probably noticed that the basis of 'good manners' was made up of" good principles "But in other cases, frequent, and the coincidence of bienséances kindness was, and was considered an effect special a trompe-l 'oeil. And today? I doubt that the electoral fray and our time in general provide conditions conducive to a dignified and restful contemplation and celebration of good manners. About as far away from us of Castiglione, who praised lightness and grace while, apart from some unheard appeal, the taste gives value to the existing 'commitment to suffering, maceration (I think all' picture of a philosopher photographed hands against his temples, as if the head was about to explode) or an explosive vulgarity? C 'is still a reading that I would recommend as an antidote to' era of monologues and fights well for a different approach to the whole question: an essay by Giovanna Axia, a professor of psychology at 's University of Padova (and already the author of a book on shyness), now revived in a new edition. Title: In praise of politeness (the mill). The subtitle explains almost everything: 'The concern for others as a form of' intelligence '. In 'attention to the other Axia sees the' mental element that sustains all control and softening of manners. Not that this' idea is completely new. Della Casa had already written: "Thou must temper and order your ways, not according to your will, but according to the pleasure of those co 'which you use." Yet his attention was directed towards various forms of on-coded, while, in view of Axia, true courtesy is fed so assiduously by a delicate and penetrating understanding of the needs of others. Anyway, for the reader, the real news is in praise of kindness' approach to the beaten path, that is smart and unexpected. Giovanna Axia shows that about eight years, the child learns to speak, taking into account not only their own desires, but the views and needs of 'party. This is one of the decisive moments of his training, a crown and is also the 'access to a superior form of communication: as a poem to the metric, the discourse adheres to the rules of courtesy (and, often, adolescents and adults unlearn what have learned, but that, you know, it happens in any field, alas, forgotten everything). Addressing the topic from the side of Axia means removing the discussion from the annoying constraints on the class and all 'environment. Even if c 'is the one who claimed to have the' exclusivity, courtesy is within the reach of every speaker who is not eaten by a wild and resentful self-centeredness. So much the gentleman of the court of Guid 'Ubaldo as the child of primary school, the villain in the old sense (ie the farmer) as the bourgeois el' aristocratic 's extra-what' s native. He lives within us, if only we care to those around us, is a frame on which to weave any dialogue with others. Just talk, like Goethe, a "courtesy of the heart." The rest of the costume consists of branches, sometimes interesting, sometimes silly. It is not necessary to know, even if it is being curious and friendly elegant taken into account, as it is, on the road, respect the customs and language of interest in a foreign country. L 'AUTHOR Baldassar Castiglione (1478-1529, above the portrait of Raphael now in the Louvre) is the author of poems in Latin and the vernacular, a vast collection of letters, of' eclogue 'Tirsi. His masterpiece is "The Book of the Courtier" written between 1513 and 1518 (published in 1528) where you draw the figure of the perfect courtier. THE BOOK Giovanna Axia's essay, "In Praise of courtesy" (1996), has now been reprinted in a new edition of the Mill (134 pages, € 9.50)
John Mariotti (February 8, 2006) - Corriere della Sera
Hello everyone! A passionate reader and non-existent readers, for future readers!
Well, here I am .. My adventure started with blogs. I want to write this first post to introduce this to design my own. None of which, in reality it is simply a collection of reviews of albums of Heavy Metal music and outbuildings (many?) Subgenres.
Every time I get ready to listen to a record, I'm always attracted to the reviews that are scattered on various web-zine for the network. However, from time to time, I disagree with reviewers and, mentally, I begin to draw my own personal review of the album. At that, the question arises: why do not you write reviews? Which follows a 'further question: why do not write reviews on a blog, so I can share with other people? And here, greatly summarized, the reason why I stand on these pages .. Giving birth to my personal web-zine, we say.
I will not try to follow a pattern or to write regularly, it will all be guided by the inspiration of the moment. And, just to reaffirm the concept of non-static, I will focus my reviews on new releases is equally fresh, fresh, both on old masterpieces of the past, and it is, why not, on demo bands.
short, nothing schematic and then, only passion, a little 'time to lose, and desire to compete. Thank you for your attention to the next. :)
