The White Noise Within

Hailing from the remote place that is the island of Sardinia, this talented outfit had voted to contribute to the modern progressive/power/thrash metal movement as exemplified by acts like Nevermore, the Germans Couragous (later Courageous) and Communic. What differed them from the rest was the male/female vocal duel that gave a wider scope to their sharp, hard-hitting musical approach. “The 3rd Moment of Madness” also introduces a chuggy rhythm-section not too far removed from early Meshuggah, in other words, this fest here would be a delight for fans of the modern trends as said piece shreds its way through various tempo-changes and oblivious progressive landscapes the vocal duet assisting aptly without occupying too much space. “Indifferent” thrashes wildly and would by all means keep the headbangers happy although heavier steam-rolling passages arrive later with the girl making a fine emotional showing behind the mike.

“Mirror” is a diverse progressive opus with an enchanting balladic intro before the lashing riffs enter the arena and settle for bouncy mid-tempo shreds surrounded by more melodic arrangements some of them coming from the lead department. “Hate Create” notches up the technicality from the get-go with a vortex of mazey guitars until squashing ship-sinking rhythms bring the winds of doom for a while together with lyrical balladic deviations those given one more chance on the serene piece “The End of Me”. “The Wasteland of Days” acquires pounding march-like dimensions, and its consistent mid-paced stride is seldom interrupted, mostly by more stylish intricate riffs plus a really intense, nearly death metal-ish exit. “Paint the Poet Dead” increases the doomy vibes, and although the band take care of several more energetic insertions later, the approach remains on the moody, introspective side. “Swept Away” “sweeps away” the gloom instilled, and is a finely decorated progressiver with more original riffy juxtapositions that don’t offer anything too fast-paced, but keep things interesting with more flexible, more technical configurations. “See Nothing, Hear Nothing, Say Nothing” crosses doom with more aggressive, almost death metal-ish pathos with unbearably heavy guitars ala Communic, closing this captivating saga in a downbeat sombre manner.

The old school resurrection campaign that was in full swing at the time seemed to not have held any fascination with the guys (and a girl). And it was probably for the better since this old/new trend was filling up with more or less capable practitioners rendering all other styles to obscurity. Our Italian friends here continued unperturbed by the retro craze around them, and pulled themselves together for one more spell three years later. The style remained unchanged as the band produced another modern progressive metal “beast” the main difference from its predecessor being the cool cover version of Two Unlimited’s “No Limits” thrown in at the end, done in an energetic thrashy fashion without any detrimental electronic additives. And that was it; the end of the affair for one of the more promising Italian musicians on the metal circuit. I guess they’re exploring another wave frequency at present, one that can’t be caught by the human ear, and one that gives them more opportunities to pursue the white noise and its various musical interpretations.