In most cases, the bands that start their artistic journey from extreme bases tend with time to open, albeit minimally, to sounds less claustrophobic and more enjoyable. It’s not that Red Moon Architect had so far offered music that was easy to listen to, but there’s no doubt that their approach to the darkest and most painful funeral doom is partly a surprise. If in Return Of The Black Butterflies, their third full length of a discography made of only great albums, Saku Moilanen’s band had found a sort of admirable balance between gothic, death and funeral doom, also thanks to the use of Anni Viljanen’s voice, in Kuura the only concession to the vocal compartment is the use of heartbreaking screams that are well suited to a sound that is pure and masterful exhibition of suffering and despair. The frost (kuura in Finnish) envelops and makes impermeable to any vital impulse a heart that is about to surrender to the unbearable heaviness of being, and the last vital breaths are represented by the cries of those who use the remaining resources available to communicate to the world the horror and nausea that have poisoned an entire existence. If the first part is dramatically intense and suffocating and the second is a shorter episode of noisy and obscure ambient, it is in the third and final track that the sound seems to open up to a melancholic and moving progression, punctuated by a minimal but moving piano touch. Obviously Red Moon Architect (who are also 4/5 of the musicians who, under the jersey of Aeonian Sorrow, helped Gogo Melone to build a magnificent album like Into The Eternity A Moment We Are) don’t create something new, but they absorb and rework the best of the most important funeral scene on the planet, the Finnish one, and give with Kuura a masterpiece destined to mark the genre for a long time. To be listened over and over again until the frost melts and mixes with tears.
2019 – Grey Beton Records