Ottone Pesante is a brass metal trio who witnessed the Covid catastrophe from near distance in their home country Italy. We got hooked on this band after their second album Apocalips, which was a daring piece of wind blowing art. We were even lucky to see them life in the punk cave The Pit’s in Kortrijk Belgium with a mind blowing concert. Can we write a consequent review about Doomood? Yes we can.
Doomood has thirty-four minutes running time divided into several stylistic approaches, but doom is what Ottone Pesante breathes. Francesco Bucci (trombone and tuba) and Paolo Raineri (trumpet and flugelhorn) explore with precision their creativity and melt the sounds of their instruments into various and doom orientated moods. The threatening tones wallow in the raging drum patterns of Beppe Mondini. The band doesn’t copy and paste their previous releases on Doomood, they dig deeper and sound more sinister and more provoking.
On Tentacles (this track was released as a single) Sara Montenegro from Italian’s doom/drone band Messa features as a guest vocalist. Her contribution pushes this slow but mesmerising track into a more comfortable listening zone. Ottone Pesante sounds extreme and loves to exceed into the extreme. On Serpentine Serpentone and Strombacea (that ends very atmospheric), Silvio Sassi from the Italian black/doom metal band Abaton screams his lungs out. Some might think to hear guitars on these black and death metal orientated tracks but Ottone Pesante does not use any bass or guitar. Their unique playing technique mimics the riffs and bass lines, resulting in some kind of black brass metal trip.
Conclusion: Doomood shows ardency, depth and roams in different darkened moods. This is an outstanding continuation of Ottone Pesante’s musical journey. Doom jazz lovers should check this band out and beware Ottone Pesante is Bohren & der Club of Gore on high speed. This brass metal album is way too short, so we play this one on multiple repeat.