MORGENGRUSS - Morgengruss

Genoese singer and multi-instrumentalist Marco Paddeu, after his post-metal experiences under the name Demetra Sine Die (“Council From Kaos”, 2005, and “A Quiet Land Of Fear”, 2012) and above all the colossal three-part doom-metal suite “Motvs”, included in “Hermeticvm” (2010) under the name Sepvlcrvm, rechristens himself Morgengruss to release the self-titled “Morgengruss”.

The opening tracks, beyond an undeniable mastery of neo-psychedelia (the enchanted whirlpool that closes “Father Sun”, the refracted guitars of “River’s Call”), are also epigonic of the dark-folk of fellow countrymen Morose (“To An Isle In The Water”, “Apparent Motion”).

Artistically speaking, the album perfects its broad timescales and catatonic breath in the last two episodes. The mournful “Vena” spends its seven minutes in endless arpeggios (overshadowed by a dark sermon and a sax intoning a nightclub melody), which take on an emphatically melodramatic quality in the final wall of drones. The nearly ten minutes of “Hope” heighten the contradictions: classical piano and Tibetan om chants – an association with Popol Vuh’s “Hosianna Mantra” – and a hoarse, declaimed vocal in the vein of Tom Waits drift into electronic echoes and voices floating in the ether, held up by just one or two bass strings.

The track, essentially an exhausting decrescendo of pure impressionism and one of the jewels of 1910s Italian rock, is the quid ballistic core of the entire album. Not by chance, it features the largest share of the personnel involved: Enrico Tarauso on tuning fork and assorted effects, Emiliano Cioncoloni (also producer) on piano and percussion. A graceful metaphor for an ending.

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29/01/2016