The Romans Seventh Genocide with an album like Toward Akina, released about a year ago, have placed themselves at the top of the national level of that changing musical galaxy in which is included those who blend black metal, shoegaze and psychedelia, an area in which the mere thought that among the most important bands are counted Alcest and Agalloch makes you realize what is the space for maneuver within it, given the stylistic distance that separates these seminal realities. This space Seventh Genocide exploit it to the fullest, thanks to a talent that allows them to let the sound float without appearing dispersive, although the ingredients that go to make up even this ep entitled Svnth are many and sometimes apparently conflicting, making marginal the fact that three of the four songs are in fact reworkings of tracks from the first two demos released at the beginning of the decade. The Roman band possesses, in fact, the innate gift of making all their inspirations converge in a precise point from which then vent freely and fluidly every creative impulse. An emblematic song in this sense, among the four that make up this work lasting about half an hour, is the final Martial Eyes (whose length is doubled compared to the original contained in the demo self-titled, just to show what and how much has been the work of revision of the material already published), in which instrumental gallops close to heavy power are married to the already met pinkfloydiane digressions in a very natural way, and in some ways the same happens in Sleepless, the only unreleased episode of the work, whose pace appears even more progressive. The opening track Through Woods And Fire (also present in the 2012 demo) would seem to pay tribute to the work of John Haughm’s band, with its folk incipit and the magnificent post-black explosion that, after a few minutes of listening, makes the value of Seventh Genocide clear, and even in this case the closest track in the setlist, Clouds Of Desolation (whose original version comes from the 2011 promo), replicates the basic characteristics of the band, even if such a verb can be almost an oxymoron when it comes to a work with such changing features. Despite its characteristics Svnth can be considered as a work of unreleased, such has been the evolutionary path of Seventh Genocide compared to the beginning: the ep has the important function to consolidate the prestigious status acquired by the Roman band with a few but targeted works, as well as to remind us that to listen to fresh and engaging music is almost never necessary to go beyond borders.
2018 – Third I Rex