Exactly three years after their last release, Negation Of Life, which had highlighted them as a band with considerable potential, the Basques In Loving Memory return with this ep, which inaugurates their collaboration with the Milanese label House Of Ashes Prod. Apart from Evadne, it seems that all the most illustrious names in the Spanish gothic death doom scene met in the same period to publish their latest works: so, if Helevorn have accentuated the gothic component of their sound and Autumnal have instead turned towards sounds closer to the current Katatonia, the band led by Juanma Blanco seems to have pushed, although not clearly, in the opposite direction. In fact, among all the names mentioned, In Loving Memory were already those with the most marked death component, to which they combined a certain propensity for rhythmic rides based on guitar chords rather catchy, approaching in this sense also to certain melodic death of Scandinavian matrix. Redemption reinforces this trend, presenting twenty minutes of death doom in which melancholy is a feeling that remains in the background never becoming predominant in the economy of the sound, dominated mostly by massive riffs and solo parts that let themselves go to passages rather memorable. Even if it’s risky to draw conclusions based on a rather short work, we can say that the summa of today’s In Loving Memory is made up of the last and longest track of the ep, Absence Of Truth, in which the union between the doom and melodic death components finds its sublimation, sometimes pushing our band towards territories contiguous to Dark Tranquillity. A very successful song, as well as the short and disturbed No Words Needed and Intra Nebulam MMXIII, a remake of the song from the debut album Tragedy & Moon, with more traditional death doom traits; A Path To Deliverance deserves a separate discourse, not dissimilar from Absence Of Truth in terms of intentions, although much more aggressive, a track in which the band from Bilbao is much more convincing in the moments in which the reference to the tutelary deities Swallow The Sun becomes more evident than in those dominated by an obscure but less effective riffing. All in all, Redemption proves to be quite convincing and shows a certain propensity on the part of the band to prefer more impactful solutions than the melancholic scores typical of doom, but then again, this tendency was already evident in Negation Of Life, although in a less obvious way. A good hors d’oeuvre for the full length that will come, hopefully not too far in the future.

2014 – House Of Ashes Productions