The debut full length of this Milanese band represents one of the typical electrocutions to which we are periodically subjected, and that is one of the reasons (if not THE reason) why we spend a good part of our time listening to new music proposed by realities known to few. Mudness is an almost perfect work in which, inside a black metal base, death and doom flow together, amalgamated by an uncommon sense of melody, able to make each of the five long tracks (ten minutes on average) as many episodes able to ennoble, alone, an entire album. The good thing is that, moreover, Obsolete Theory offer us an album in constant crescendo, since the departure entrusted to Salmodia III and Six Horses Of Death is under the banner of a black relatively more canonical, although proposed in its most atmospheric and full of punctuation of various kinds, until you get, through the rough Dawn Chant (in some way indebted to Forgotten Tomb), to the splendid Sirius’ Blood, a great test of melodic black doom that is in the ropes only of those who have a talent for composition above average, and the final The God With The Crying Mask, which winds instead between shades of post black. Mudness demonstrates how it is still possible to move within the genre resulting fresh and unpredictable without necessarily pushing on avant-garde shores: Obsolete Theory‘s skill lies essentially in being able to give fifty minutes of intense music, vibrant and able to remain impressed even after many listenings. One of the best Italian albums of the year, beyond the subdivisions in genres or subgenres.

2018 – My Kingdom Music