Wish I Could Dream It Again...

Those familiar with this band lend praise to the latter half of their career, a true reversal to the common fact that most bands begin to suck as they get older. It came to my attention that this album was rerecorded as Dreams D’Azur because the band felt this album wasn’t an accomplished piece. You’d think that with the help of even the almighty, omnipotent, man-boy lover Dan Swanö would give these lads a helping hand, but no… the production job sucks now, and it sucked back then, let alone this album just being a complete waste of fucking time as it is. To state the entire review would be painful yet true: the formula works, the execution… just disgusting.

These guys know how to write songs, I’ll give them that. Now to top it off, the production is fairly good when compared to, say, Ulver’s Nattens Madrigal. In this genre, the job is so mutilating that it makes the listening experience unbearable. Remarkably, there is a tinge of nostalgia throughout, and I can’t help but dream of tan beaches, clear blue skies, lush vegetation, and all the Italian women I can have. Keep this in mind, because they’ll perfect this wet dream on Dreams D’Azur. The job here is just dull, with the mix being lower than what you’d expect, the actually instruments played in a hurry with no emotion, and the clean vocals just putrid. Carmelo had his harsh vocals down from the beginning (an exhaled scream more like it), but those cherished clean vocals so masterfully executed on later albums just sound like roadkill here – dull, bland, tasteless, and impassive.

All of the above characteristics of the vocals carry over with the instruments as well. Keyboards are droopy and give off a diluted effect, such as the intro to “Swim Seagull In The Sky.” Bass is damn near non-existent but can be heard when songs become subtle, thanks to Swanö’s poor job. The guitars you’d hope would save this record, and they would had they more power and life juiced into them. However, here they are monotonous and on par with even screechy black metal at times, with solos sounding very annoying. At the end of “Swim Seagull In The Sky” though it sounds so fucking 80s and majestic it’s too good to be true. Seagulls must be that badass; I dunno, I always thought they were Guido pricks.

The bass drum, oh dear where did it go? Sounds like hammering a pumpkin, and a rotten one at that. The toms aren’t too tin, but the snares are flat like the vocals. Shit, Swanö played these guys for fools when he recorded this. It sucks, because these guys really had the formula down killer songs like “The Dream Of The Old Boats,” “Sirens In Filth,” “Swim Seagulls In The Sky,” “The Music,” and “Old Lighthouse Tale.” Acoustics are thrown in and out, but fuck me they can’t bring this one back. To listen to this album isn’t a completely obscene idea – it is possible, but the experience just isn’t worth it. Save yourself the trouble and just listen to the rerecorded version, Dreams D’Azur.

After a few years of circulating the Italian underground, Novembre were eventually picked up by major record label, Peaceville Records (the home of iconic bands like Darkthrone, black metal’s second wave innovators). I always thought that ‘Arte Novecento’ was the debut, but it turns out ‘Wish I Could Dream It Again…’ stole that title. This record contains songs that were later re-worked for latter records and the content of this piece tells us precisely why that was. There are numerous problems with this record, but it has a charm that is likely to make a lot of hardcore gothic fans swoon like Novembre are some sort of handsome gentleman, gliding in and sweeping the smitten listener off their feet. The problems with this record aren’t hidden deep within the content, they’re on the surface for all to spot. Attributes like the production, and inaudible qualities of the bass are too strong to withstand the barrage of criticism this confused record will likely receive if it is taken too seriously. One must keep in mind that, like their fellow Peaceville Records chums Darkthrone, Novembre are a work in progress, even to this day. The evolution of this band is a joy to watch unfold if you persist with following their illustrious, but overlooked career. The band have had success and it is deserved. Especially by its general and leader, Carmelo Orlando. As he matures, so do Novembre. Their performances go from strength to strength (until ‘Materia’, really), especially in terms of the production and the fantastic clean vocals of that man again, Carmelo.

Their perseverance, will to succeed and drive has taken this band on to another level of performance, but, and that’s a big BUT, this debut isn’t as eager to please as the latter efforts with its downbeat production values and weary content. The gothic scene is in need of a healthy dose of invention and Novembre do provide that, just not yet. With the legendary Dan Swano picking this band out and choosing to record the debut, the listener is given some indication before the record has even started that the band must have potential and that potential is visible, but its masked in darkness, hidden by the weaknesses. Whilst this record does contain some variation and experimentation on the part of the musicians, there are problems with the content and the line-up, which does eventually change on several occasions. I feel now that Novembre have their strongest line-up to date, though the latest effort, ‘The Blue’ isn’t the best representative of the bands overriding qualities as a gallant gothic force. ‘Wish I Could Dream It Again…’ is a disjointed effort, but the band are in the early stages of development, they’re toddlers trying to run before they can crawl.

The trusty steed comes in the form of the Orlando brothers, whom have been with the band since the beginning. Carmelo Orlando has the job of leading the band into battle by performing on guitar and vocals, carrying his fellow warriors on his back, including his brother Giuseppe Orlando who takes control of the drums on this record. This line-up actually does persist on after this record, producing the much improved ‘Arte Novecento’. The line-up does eventually alter drastically, bringing us into the modern day where Carmelo controls the keyboards, as well as maintaining his role of lead vocalist and head guitarist. His performance on this record is probably the highlight too, as it tends to be with most of the Novembre records. Carmelo is like the captain of the Titanic, leading his men to confront the dangers of the sea and eventually, going down with his ship with dignity and grace. The bravery shown by the captain of the infamous Titanic ship can be likened to the dignity and grace Carmelo tries in vain to exalt upon the content of this record. He tries desperately to drag the performance up by its knee, but ultimately fails due to poor production values and sub-par performances from his fellow musicians. Unfortunately, their performances aren’t on top form here. The keyboards don’t play much of a role in developing those scratchy soundscapes. There is an amateurish feel to the musicianship and song writing that leads to much confusion as the soundscapes unfold into nothingness.

The atmospheric nature of Novembre is present, but to a lesser extent and that pretty much sums up the appeal, or lack there of, of this record. It may have its quirks and charms, as aforementioned, but it lacks a depth to carry the atmosphere over and isn’t too memorable. The songs which are on this record, and that were later re-worked and re-recorded, stand out as the better songs. Titles like ‘Swim Seagull In The Sky’ with its emotive acoustics and ‘Dreams Of The Old Boats’ that combines the doom growls with the light hearted guitar riffs and jazzed up bass. Songs like this push the listener into forming a slightly better overall opinion of the record, but the production doesn’t match the content. At times its too dark (though this is strange considering gothic records generally take a darker atmospheric stance) and doesn’t afford much praise to elements like the bass, which can become lost in the melee. This record draws out a lot of mixed emotion. There are problems with the consuming production, which swallows the bass and offers some surreal and baffling effects on guitars (the harsher tones of the guitars don’t work as well as the cleaner instrumentation, specifically the acoustic passages). I accept this record as an immature debut that shows signs of potential, but isn’t living up to the expectations and nothing else. Average, with some moments of glory.