When it comes to talk about a band that has literally marked your life, it’s difficult to express yourself objectively, for better or for worse. For me, My Dying Bride are more than just a band, but they are the melancholic cantors that have accompanied an important phase of my existence. I’m also aware of the fact that, to a band that has reached its fourteenth full length in thirty years of career, cannot ask anything more than to allow its loyal fans to listen to a few more flashes of the decadent art that will never leave Stainthorpe and co. The Ghost Of Orion is the umpteenth beautiful album that the Halifax masters offer from the beginning of the new millennium without reaching the peaks of the milestones released in the nineties, but neither leaving a bitter taste in the mouth of the listeners. This is because in each of these works, from The Dreadful Hours onwards, there are dazzling flashes of class that amply justify the purchase of each new work, beyond the fact that at times the whole thing may appear erroneously a task performed without smears as of particular emotional leaps. Nothing could be more wrong: when a band with such a status (we’re talking about someone who has made the history of metal, like it or not) gives the ten poignant minutes of a track like The Long Black Land, with its references in the final to a past that will never return, it still justifies its existence and the desire to periodically offer new music to the hard core of their fans. Then, on a purely dogmatic level, My Dying Bride will never make a bad record as well as Nicole Kidman will never become ugly, not even getting old and fat.
2020 – Nuclear Blast