Funeralium – Decrepit

Funeralium have always been, since their creation, a sort of expedient to allow Jonathan Théry (as used here under the nickname Marquis) to exasperate in a funeral and depressive sense the musical and lyrical contents exhibited with Ataraxie; however, if at the time of the release of the first full-length self-titled, in 2007, temporally placed between Slow Transcending Agony and Anhédonie, the stylistic deviation was much more pronounced, the gap with time has gradually narrowed, more for a hardening of Ataraxie than for a softening of Funeralium. The latest full length Decrepit – in which Théry is accompanied, as always, by his historical partner Frédéric Patte-Brasseur (aka Berserk, guitar) and the established Asmael Lebouc (guitar) and Charles Ward (bass), as well as the new drummer Raev – becomes the ideal sequel to Resignés, even more than Of Throes and Blight, because if the stylistic differences between the two bands persist, on a conceptual level, the humanity that Ataraxie looks at with a disenchanted eye, telling of its resignation or, even worse, its disinterest in its own demise, is here fiercely indicated and described as the real cancer of a planet that sees in the extinction of Homo Sapiens the only possibility of survival and rebirth. The rage and pain that transpire from lyrics that leave no doubts about the thought of Jonathan (who was assisted in the task by Lebouf) find their sublimation in a musical expression frightening in intensity and courageous in construction, if you think that with only four tracks it comes close to eighty minutes of total duration and that Ruination, the second track and the absolute fulcrum of the work, exceeds half an hour and when it ends you have just reached half of the development of the work. The funeral alternates with the depressive, uniting the two sub-genres that more than others are deputed to tell the ruin and existential pain, and in this sense Théry alternates the classic growl a scream that contains all the painful despair resulting from the story of a tragedy that is about to happen in a slow but inevitable way. Decrepit is a bitter album, complex yet emotional in depicting a present in which an indifferent individualism prevails and a future that leads to an invoked and liberating apocalypse, leaving as the only consolatory foothold (if you can call it that) the hope that from the rotting remains of the human race can be born a new world, able to regenerate without unwanted guests. On closer inspection, the discouraging thing is that Funeralium does not paint an excessively gloomy and pessimistic picture, but rather takes it upon itself to foretell, at the risk of suffering the treatment of an unheeded Cassandra, what only the Titanic orchestra made up of most of the inhabitants of the planet cannot see or even imagine. Decrepit is the definitive work describing the collapse of humanity, a masterpiece that many will probably ignore, preferring to wallow in more innocuous tales of demons, wizards and goblins.

2021 – Weird Truth Productions / Caligari Records / Seed Of Doom