Day: May 5, 2017

Still from a Romanian soil that is proving to be more and more fertile in terms of metal, comes a proposal of great interest based on death doom, with good personality and intensity, by Sincarnate. In fact, the mentioned genre doesn’t photograph correctly the style of the band from Bucharest, which also introduces in its sound massive doses of black and death metal, with an epic and liturgical aura that moves the coordinates elsewhere than the interpretation of the genre of the Scandinavian bands, for example. In Nomine Homini, as foreshadowed by the title and the cover, besides presenting many choral parts sung in Latin, deals with religious themes, obviously revised and corrected according to the personal vision of this group of musicians. The album, also considering the two bonus tracks, goes beyond the total hour of duration, however, testing the attention of fans, since the stylistic approach proposed by Sincarnate is never winking or unbalanced on the melodic side, but shows the intent of the band to drag the listener into its whirlpool, representing religion as anything but an extreme lifeline. A reinterpretation, the one contained in In Nomine Homini, which redraws in dark colors the impact of the cult of the divine on humanity, highlighting the discrepancies and, in fact, explaining through several still images how the various beliefs have slowed the development of self-determination of man, something of which we still end up paying the consequences, perhaps even more absurd than in times defined obscurantist. The death doom of Sincarnate is pervaded by a constant tension, that the frequent use of samples of heartbreaking screams or reciting voices helps to keep always high; the band moves with great awareness on a slippery ground, on which a lesser competence in handling the matter would inevitably lead to bore the audience, which never happens thanks to rhythmic cues now, now melodic, enhanced by a quality production (which has also contributed to a tutelary deity of the Romanian extreme scene as Edmond Karban). There is no need to go into the details of the various tracks, since In Nomine Homini must be assimilated as a continuum that finds its end with the magnificent Liwyatan, a track that between angelic voices, Gregorian chants, rhythmic squares and the merciless growl of Marius Mujdei, reveals itself as the authentic conceptual and musical summa of Sincarnate. In fact, the two excellent final tracks are as many bonus tracks that should be considered as stand-alone in the economy of an album definitely beautiful, but to work with dedication and precisely for this reason harbinger of satisfaction as soon as you can decrypt the essence.

2017 – Hatework