The new course of Ahab, which started in 2009 with the second full length The Divinity Of Oceans, although not so pronounced as to distort its stylistic coordinates, finds a further building block with The Giant, an album that this time is built on The Narrative of Arthur Gordon Pym, a novella written by Edgar Allan Poe in which the protagonist embarks on a whaler giving rise to various vicissitudes related to shipwrecks and other perilous happenings. If the conceptual reference is thus firmly maintained, with the lyrics written as usual largely by Hector, some more deviation can be found in a musical content that accentuates the introspective side at the expense of the more traditionally metallic one; Droste, as the main composer, prepares a sound environment that can best accommodate the increasingly frequent use of clean vocals, certainly progressed in setting compared to the previous work and now definitely adequate, although not among the house specialties, let’s put it that way. In spite of all this, Ahab‘s appears here to be a natural evolution rather than a distortion of the sound: frankly, those who speak of a detachment from funeral (presenting it then, who knows why, as something necessarily positive) are in my opinion off the mark because the basis of the sound is still that of the beginnings on which, however, is grafted a substantial dose of progressive cues (emblematically Antarctica The Polymorphses) that ends up making The Giant perforce a very different work from The Call Of The Wretched Sea. As with all albums that imply a turning point, more or less clear-cut, the reception to The Giant depends on one’s predisposition: personally, although I consider myself a purist compared to many among those who have written about it, I consider this third full length of Ahab to be yet another proof of great value and, above all, something very far from the abjuration towards funeral that some have wanted to see.

2012 – Napalm Records