progressive metal / alternative / avant-garde
Interesting and intriguing, Finestatico, released by In Tormentata Quiete, an impressively creative avant-garde metal act from Italy, has seven tracks: Zero, Sole, R136a1, Eta Carinae, Sirio, RR Lyrae and Demiurgo. Displaying wisely a dense, but functional and harmoniously abrasive, vast and dispersive diagram of symphonic and folk elements, In Tormentata Quiete is deeply entrenched – and to a certain degree, indebted – to the traditional groundwork of another Italian bands of the genre, being Lacuna Coil probably the most notorious of them all; so to a certain degree, the reference – and possible comparisons, favorable or unfavorable – is inevitable. Nevertheless, their songs are, to a modest degree, beautiful, the harmonies are cohesive, and they know how to carry on firmly the musical tradition upon which their music is profoundly engraved.
Despite the lack of originality and major attractive features, Finestatico is an album that inadvertently has its beauty. Unfortunately, in a general sonorous layer, the group isn’t able to avoid the usual generic elements that also normally victimize other acts in the genre, which are mainly too exacerbated sentimental melodies, in a sequence sometimes exceedingly predictable, and way too demagogic symphonic common ground ordeals. But neither of these negative aspects – that are not that afflictive, some would qualify as smaller infractions at best – are enough to compromise the structural integrity and the genuinely stylish poetic serenity of In Tormentata Quiete’s music, which are quite beautiful and abundantly captivating, at certain specific passages.
The fourth track – Eta Carinae – is one of the most effective and brilliant in the whole album. A beautiful and poetic song, it reflects the musical principles upon which the visceral and energized musicality of the band seems to rely on: a rudimentary, but at the same time increasingly sophisticated rhythmic axis of sentimental intonation, that revolves around the precious possibilities that vehemently reinvents their capacities, to a strikingly original point of artistic rupture.
Although I cannot qualify this album as a masterpiece, Finestatico has its share of great moments, and can be considered an expressively satisfying musical experiment. Unfortunately, they rely too consistently and too repeatedly on specific and generic structural formulas, that were already exhaustively used by other acts of the genre. So, Finestatico would hardly be a surprise to someone who is profoundly familiar with the genre.
Wagner
Despite the lack of originality and major attractive features, Finestatico is an album that inadvertently has its beauty. Unfortunately, in a general sonorous layer, the group isn’t able to avoid the usual generic elements that also normally victimize other acts in the genre, which are mainly too exacerbated sentimental melodies, in a sequence sometimes exceedingly predictable, and way too demagogic symphonic common ground ordeals. But neither of these negative aspects – that are not that afflictive, some would qualify as smaller infractions at best – are enough to compromise the structural integrity and the genuinely stylish poetic serenity of In Tormentata Quiete’s music, which are quite beautiful and abundantly captivating, at certain specific passages.
The fourth track – Eta Carinae – is one of the most effective and brilliant in the whole album. A beautiful and poetic song, it reflects the musical principles upon which the visceral and energized musicality of the band seems to rely on: a rudimentary, but at the same time increasingly sophisticated rhythmic axis of sentimental intonation, that revolves around the precious possibilities that vehemently reinvents their capacities, to a strikingly original point of artistic rupture.
Although I cannot qualify this album as a masterpiece, Finestatico has its share of great moments, and can be considered an expressively satisfying musical experiment. Unfortunately, they rely too consistently and too repeatedly on specific and generic structural formulas, that were already exhaustively used by other acts of the genre. So, Finestatico would hardly be a surprise to someone who is profoundly familiar with the genre.
Wagner
