I’ve been lucky enough to know this wonderful project called Chiral since its first steps and, maybe also for this reason, listening to every new release takes place with a less aseptic approach than it can happen with other productions. Certainly this attention is fully deserved: after the long-distance debut Abisso, which immediately highlighted the great potential of Chiral, the split album with HaatE confirmed the good things previously said, thanks to a magnificent song like Everblack Fields Of Nightside. A certain black extremism surfaced in the following split Sed Auis could lead to think of a progressive hardening of the sound, while what happens is exactly the opposite: Night Sky is a decisive step forward, with which the musician from Piacenza exhibits without any more qualms and with less extreme heritage his melancholic and melodic pulsions. My Temple Of Isolation smells intensely of Agalloch, and it’s a nice effluvium since we are talking about a unique band that, precisely because of this peculiarity, is rarely paid homage with the same property exhibited here: in the ten minutes of the song, the folk post metal imprint of the American band is reworked with competence and, above all, with the right emotional component. The following Nightside I: Everblack Fields is in fact a new version of the song from the aforementioned split Where Mountains Pierce The Nightsky, with the main theme that takes up the opening track of Abisso, Atto I: Disceso Nel Buio: if the repetition of fragments used in previous occasions could seem a lack of inspiration, it denotes instead Chiral‘s will to make all their works a continuum in constant evolution, a unique body capable of expanding while maintaining the stylistic canons that inspired it. After being lulled for almost twenty minutes by a dreamy music, Nightside II: Sky Wonder does not abruptly interrupt the pleasant dreamy activity: another apparently simple melodic line enraptures and conquers for another quarter of an hour. The short acoustic instrumental The Morning Passage introduces the final Beneath The Snow And The Fallen Leaves, track from the atmosphere more restless and less immediate, more oriented to sounds close to Wolves In The Throne Room than to Lustre, another important reference point for Chiral found in the two Nightside. With this track we are thus torn away from the softer sounds that have lulled us in the initial part of the work, as if to remind us of the black matrix of the project, albeit with all its many facets. This review comes out in the same day of the one, also written by me, about TesseracT’s last album: where we find the spasmodic attention to details, the obsessive search for technicality and clean sound, here instead we have a music that penetrates the soul mainly thanks to its evocative strength, and its small formal imperfections turn out to be completely insignificant if considered in the whole context. It is superfluous to add which one I prefer between these two ways of understanding and living music.
2015 – Pest Productions