Talking about this duo that has recently moved under the moniker Solautumn, the real mystery to pay attention to is not to find out where they come from or what is the real identity of Anelhen and Demoon, but the fact that two wonderful albums like Under The Sky Of A Dying Heaven (2018) and Autunnaria (2020) have not received any attention. It’s not so common to hear works of magnificent emotional intensity like the debut album, which is closer in mood to an intriguing cross between atmospheric doom, post metal and depressive black, and especially the more recent Autunnaria, which can be traced to all intents and purposes to funeral, in which context it was absolutely one of the best recent releases. It’s also true, on the other hand, that a bit of blame must be attributed to those who produce art of depth but do not do enough to disseminate it, perhaps not relying on the most usual or appropriate channels, and I do not even think that this happens for a kind of reluctance or even worse snobbish attitude of the authors, if it is true, as stated on the Bandcamp page (the only point of contact with the band) that the demo planned for the real debut in 2016 has never been published because it was considered not up to expectations, thus waiting another two years to rework the songs contained therein. This attitude is suggestive of a form of attention and respect towards potential listeners, who must also be somehow informed of the existence of a product aimed at them, otherwise the whole thing ends up remaining delinquently the preserve of a small circle of friends and acquaintances, just what seems to have happened to Autunnaria. Released in the summer of 2020, in the midst of the hedonistic euphoria of Covid’s post-first wave, Autunnaria‘s reflective and decadent tones take us back to the season that would come after, with its soft colours that harsh reality would later turn into a grey monochrome: Rain, Clouds, Mist, Cave, Infinity, are titles that leave no room for interpretation doubts about the themes and sounds offered by Solautumn, in which are found the teachings of the seminal Novembre, reworking everything with a personal style, oscillating between rarefied passages and acceleration suddenly repressed, letting the songs wind deceptively like that fine drizzle, almost imperceptible, which ends up soaking the clothes of water no less than a furious storm. The lyrics are all in Italian, not always intelligible as they are mostly expressed in growl, with some exceptions like in Caverna and in the following Sul Trono Dell’Oscur Eterno, superlative tracks that introduce the final part of a work that develops in a strong emotional crescendo, reaching its peak in the yearning Infinito to close with the melancholic poetry of the title track. Solautumn is one of the most precious gems hidden in the confused and overcrowded undergrowth of the Italian underground metal scene, and this represents at best the difficulties that today’s fans (the real ones, always looking for something new to feed their hearts and minds) have in separating the wheat from the chaff.
2020 – Autoprodotto 2021 – Silent Time Noise