New Italian project dedicated to doom funeral, Il Vuoto turns out to be a very welcome novelty in a specific field in which the production in our country has never been particularly rich. Although, as declared influences at the beginning, are mentioned among others names such as Shape Of Despair and Nortt, let’s say that the two bands in question, rather than a real source of inspiration constitute, with their respective styles rather distant from each other, a kind of sound spectrum within which Il Vuoto moves. Although the feeling is that this is a one man band, we know little or nothing about the musicians involved (a bit like Ea, another band whose imprinting sometimes appears in the songs), except that the voice is entrusted to the guest Jurre Timmer of the Dutch Algos. Little bad, since here, as it should be, what matters is the music, an element that is expressed on this occasion at levels surprisingly remarkable. If the propensity, for Il Vuoto, is naturally directed towards an atmospheric funeral, there is no lack of harsher moments combined with others with post metal traits so that, at the end of the listening, we can safely say that the approach to the genre of the Italian band is definitely personal thanks to the different facets offered in an area where usually, however, prevails a blunt (although appreciated by fans) monolithicity. Softer and melancholic sounds, with wide guitar and keyboard openings, characterize the opener And Night Devours Me, but they are swept away by an episode with a pachydermic and menacing gait like The Harvest, perhaps the most authentically placeable song in the funeral strand of the whole album together with the following Sea Of Emptiness, a track that for me is one of the peaks of the album’s composition, marked by a melodic drama that winds in its first half before suddenly giving way to a delicate arpeggio. The beautiful instrumental interlude And Night Took Her introduces the short Through Mirrors I Saw The Ghost Of Me, made desperately intense also by the remarkable test of Timmer; I, Essence Of Nothingness, which is another key moment of the work, is dominated by a guitar work of solo matrix really valuable, able to lead the song in those melancholy valleys from which it is impossible to escape unscathed. Closure XXVII is practically a long atmospheric outro placed as a seal of a work of great value, which goes to partially fill the gap in a subgenre of doom that in Italy does not have an established tradition even if the excellent bands are not lacking, although none of these can be considered funeral in the purest sense of the term (Consummatum Est, Urna, Malasangre, Plateau Sigma, In Lacrimaes Et Dolor, not to mention the great Void Of Silence). But, beyond the labels that basically leave the time they find, and considering that the project came to life only in this 2015 with the release of two demos partially merged in Weakness, one can only be pleasantly surprised by the manifestation of this wonderful new musical reality, protagonist of one of the most convincing tests listened recently.

2015 – Independent