Omnes Ire Ad Mortem mark a decisive turn in Sepultus Est‘s sound towards darker and authentically funeral tones: the riffing is heavy, the wide keyboard openings are reduced to a minimum, replaced by piano punctuations that only partly lighten the claustrophobic pace accentuated by a growl never so convincing. The work consists of a single track of about three quarters of an hour, the female voice has disappeared from the radar while what until the previous record had been a real band, with several musicians to deal with individual instruments, has become a duo, with only Canabicus (guitar and drum programming) to remain at the side of Christian. The result is a mature and compact work, cleansed of baroque elements but also of certain unpredictable hints, which adheres to consolidated stylistic canons without losing a certain personality. In my opinion, the spirituality that has always pervaded Christian Diaz’s work, also conceptually, in Omnes Ire Ad Mortem finds its ideal sublimation as well as an enviable balance between the metallic heaviness and the classical piano scores (after all, one of the musicians who most inspired Christian Diaz was Richard Clayderman, which explains many things).
2019 – GS Productions