Krief De Soli are back on the scene with their second album that follows, two years later, the interesting Procul Este, Profani…; the Quebec one-man band, a creature of the mysterious Egregoire De Sang, continues on the path already traced by proposing a funeral doom that extremes in a claustrophobic sense what already conceived in the past by the leaders of the genre. To better clarify the sounds present in Munus Solitudinis, one could say that this work, like its predecessor, is an ideal evolution of that monument to the sadness that was Tides Of Awakening, the only long-distance work of Tyranny. Obviously, although the funeral is not certainly music for everyone, this particular expression turns out to be, if possible, even more difficult and tormented assimilation, for most of its nearly seventy minutes, the disc is presented as an inaccessible monolith sound that, like a procession of the damned, proceeding with exasperating slowness to an end that seems never come. Egregoire’s growl is a sort of rant that is well suited to the atmosphere of the work, as can be seen from the first track, which immediately clarifies the intentions of our both for its title, Nascentes Morimur, and for its duration of more than twenty minutes. Vita Memoriae – Exordium Sanctus is a short (compared to the rest of the album) instrumental that represents a pause in the inescapable path towards nothingness. But it’s with Vita Memoriae – Apogaeus Rerum Vitae that the Canadian musician reaches his compositional apex: starting from the same atmospheres of the opening track, the song progressively opens towards a glimmer of light, an illusory hope described with a less apocalyptic style and very close to the melancholic pace of the magnificent Ea; the guitar outlines few but touching chords and the sense of suffocation finally gives way to the emotion for what has not been and, above all, for what will never be. Deo Volente… Caelo Tegi brings the disc back to the suffocating atmospheres that return to represent what could be the extreme anxieties of life (assuming that there has ever been a life), while Sanguis Et Umbra Sumus is pure pain brought to paroxysmal levels so that, when you reach the last note, you do not understand if it is a liberation or if this sort of purifying catharsis, to be fulfilled, must continue indefinitely. Munus Solitudinis is a sound experience that will mercilessly reject anyone who approaches it without the necessary knowledge that the funeral imposes, but that, on the contrary, will attract like a moth those who have the sensitivity to be wrapped in the coils of this pure concentrate of existential anguish.

2012 – Endless Winter