After a surprising ep as Livores, dated 2015, Hertz Kankarok returns with his transversal proposal, restless and far from banality. The Sicilian musician confirms and reinforces the impressions aroused on the occasion of the debut, offering with this new ep entitled Make Madder Music another abundant half hour of fresh and unpredictable sounds, because even when it may seem that the nervous rhythms of the djent take over, in reality we always find a well-defined melodic line to guide us through the musical labyrinth conceived by Hertz Kankarok, who, as in his previous work, devotes himself exclusively to a versatile vocal interpretation, leaving Andrea Cavallaro (in the first three tracks) and Dario Laletta (in the fourth) the burden of taking care of the entire instrumental part and the arrangements. Although anomalous, these combinations work wonderfully and this new EP proves to be the further development of a sound that had already appeared widely evolved in Livores: perhaps overall the structure of the songs is slightly more grim, but the changes of scenery, sometimes sudden, which make the sound land on much more airy and atmospheric shores, always occur with masterful fluidity. In the four tracks there is not a single moment of stagnation, with sounds that are optimal both when dry and sharp riffs take the stage and when everything takes on more melodic or evocative connotations. After all, listening to Make Madder Music several times, I realized how difficult it is to try to describe the songs, also for the objective difficulty in identifying a term of comparison or a well-defined inspiration: wanting to exemplify as much as possible, during the work from time to time there are references that go from Meshuggah to King Crimson, from Nevermore to Tiamat, from Nine Inch Nails to get even to Devil Doll, but they are all subjective quotations and that, as such, leave no time to find. But the most important thing is the final result, represented in this case by a work that convinces and, in more than one passage, excites, moving from the nervous roughness of a Cargo Cult to the amazing solemnity of the masterpiece Who Is Next, and with the restless Deceive Yourself! and The Great Whirlpool (whose second half is the ideal ending for any record) to show the ability to change clothes in a swirling way without interruption as the best of the transformers. Hertz Kankarok has travelled extensively for his work and has lived in various countries, including non-European ones. This cosmopolitan nature influences his compositional pathway not so much in a direct way, because in his music the ethnic impulses appear but not in a predominant manner, but in the naturalness with which the various impulses are assimilated and then transformed into sounds that, while not offering a stable point of reference, never appear dispersive or even worse, redundant. All this allows us to say, without fear of contradiction, that this atypical musician was again able to offer, after a few years, further evidence of an innovative and progressive sound in the truest sense of the term, with the decisive added value of a sharp writing and always far from a sterile exhibition of technique, despite the possibility of using two companions of adventure of exceptional skill as Cavallaro and Laletta. It remains only to obtain, for Hertz Kankarok, the consecration at these levels with a full length, hopefully with the decisive help of a label capable of properly promote the music.
2018 – Independent