Heilagmanoth
Femme Metal :: 10/10
Are you on something?
Heavywords :: 9 (italian, translation needed)
Raw & Wild :: 8/10 (italian, translation needed)
Artrock :: 9,5 (translation)
Musikreviews.de :: 13/15 (translation)
Darkroom Magazine :: 8 (italian, translation needed)
Progarchives :: 4/5
Artists & Bands:: 80/100 (translation)
Eternal Eclipse of Frost
Il Chiarore Sorge Due Volte
Sul Monte è il Tuono
Dunwich
Dunwich
interviewed - Da Lynx
Dunwich - Prog Archives
"Heilagmanoth" - Artists and Bands
A beautiful cover artwork and an exhaustive booklet are the business card that introduce us to the new Dunwich album, published almost 10 years after the last "Eternal eclipse of frost", which completed the trilogy that started with "Sul monte è il tuono" (1994) and continued in "Il chiarore sorge due volte" (1995).
Claudio Nigris is as always leading the band, which makes use of Roberto Fasciani's bass guitar and the magic voice of Fracesca Naccarelli (official components of the band) as well as many other special guests, starting with drummer Luca Iovieno.
The album is misterious starting from the title itself: Heilagmanoth, the month of the Gods, the month of December.
A journey that starts with "Aranmanoth" (August), the month of the harvest, and that through the 12 tracks that compose the album reminds of the flowing of seasons. But we should not think that the complex themes represented (alchemy, ordeals) are music just for the chosen few... it's quite the opposite.
On a sublayer that sometimes can be considered "gothic" and dark, there are many moments of great pathos thanks to Francesca's performance: her beautiful and cristalline voice ebbellishes the already valuable musical patterns. While it's true that often the choice falls on sounds that are distinctly metal, we cannot forget the delicate melodies that remind us of bucolic landscapes or the extremely symphonic moments.
And it's in the quieter moments, in my opinion, that Dunwich's music and Francesca's voice are at their best, supported by string and brass quartets.
The homogeneity of the album is another sign that emphasizes the quality of the project, in which I'd like to mention in particular "Il falso principio" (that as well as other tracks in the album relies heavily on lyric choirs that reminds us of a past with a taste of heresy) and "Terra di ambra neve e fuoco nero", with arabic movements that remind us of tales lost.
A successful album indeed, that deserved a traditional distribution instead of the autharchic management, but with the advantage (not to be underestimated) of a greater freedom of expression without impositions.
Fascinating!
Valentino Butti
Source: http://www.artistsandbands.org/ita/modules/recensioni/detailfile.php?lid=1059
"Heilagmanoth" - Musikreviews.de
Artist: Dunwich
Album: Heilagmanoth
Medium: CD
Style: Medieval-Classic-Rock
Label: Self production
Length: 54:17
Released: 25.04.2008
No compromises, this could be the motto of DUNWICH. The Italian band exists in various constellations and ways already for many years and released in the 90's three albums. However, "Heilagmanoth" can be viewed as a new beginning and quasi-debut nonetheless, as the musical leader Claudio Nigris reappears after a break of several years with a new band, and they decided to do all the work on their own, without the help of a label. Nonetheless, "Heilagmanoth" contains everything needed for a professional production. Starting with the beautiful digipack and booklet, which visualises the lyrics with numerous illustrations, to the elaborate first-class production. More than 20 guest musicians contribute classical instrumental parts, like strings, percussions, flutes and brass as well as choir passages, and few times the band rejected already completed recordings and started anew, until they were completely satisfied. Therefore, the work on "Heilagmanoth" took more than two years. As already mentioned: No compromises!
The style of DUNWICH consists of many different elements and is therefore difficult to classify without giving a long list of influences. Likewise the sound can not be summarised adequately by naming one other band, too independently and homogeneously whole genres are connected: medieval and folkloristic music (performed with the appropriate acoustic instruments), progressive rock and classically orchestrated soundtracks. Metal is touched only slightly, represented by only few double-bass parts or distorted guitars. Although there are wonderful solo parts, electric guitars are often not used at all, which does not matter, as the numerous classical and acoustic instruments take the lead anyway. In addition, Roberto Fasciani's melodically and harmonically played bass often becomes the lead instrument and fills the room of the guitars, which also enhances the progressive rock feeling.
Even remotely, DUNWICH are only comparable with a band like HAGGARD, although the Italians are more versatile and complex, but also less catchy. Conventional song structures or typical verse-refrain schemes are hardly utilised, honestly there are not even refrains in the traditional sense. Conversely, like in classical soundtracks "themes" are used and varied in the repetitions. The songs are not overly long, mostly between five and six minutes (the more quiet pieces rather shorter), nonetheless very much happens in the respective tracks. They rather appear like a musical journey, likewise the album can not be embraced by only a few songs or even excerpts, but only as a whole. The tracks flow into each other, and often the feeling of rising and calming (musical) waves is transmitted, rather than a well-defined beginning or finish of a song. Similarly, no continuous drum rhythm is used. If a part shall be purely orchestral or acoustically, than that is how it is done.
In addition, the music of DUNWICH is characterised by a very special, mystical and enchanted atmosphere, as I have heard last at the debut of THE 3RD AND THE MORTAL. This creates the feeling to listen to stories from ancient times and of old rites. This originates mainly from singer Francesca Naccarelli and her unusual and unique melody lines. At parts she sings lovely and calmly, then powerful soprano-like and often also evoking, inspiring visions of a gypsy dancing around a fire. Half the tracks being in Italian adds to the exotic atmosphere.
Already at the beginning of the album, DUNWICH prove their versatility. "La Casa dell'Alchimista" starts with a dramatic operatic choir, transforms into a calm intermezzo with harp and flute, with great percussion and metal riffs added later. Afterwards the singing is presented with Celtic-like melodies, only supplemented by complex bass lines and acoustic guitars. And these are only the first two minutes! The next song, "Tales from the Ninth Wave", changes frequently between ballad-like and epic passages, climaxing with a terrific bombastic part including bells and male choir, which MANOWAR would have been proud of.
While the first two tracks are constantly changing between many facets and even contain some metal tendencies, the following track "Guardians of the Treshold" is the first of a few almost purely acoustical tracks, filled with percussions and dark atmosphere. Contrastingly, the H.P. Lovecraft-inspired "Escape from Innsmouth" is mainly orchestral and reminds with its atmospheric choirs of the gloomy soundtracks of Danny Elfman. The rather lively "Il Falso Principio" reminds of renaissance music (at least for a classics layman like myself). DUNWICH provides variation without sounding artificial, and without a track getting out of line. They all share some kind of melancholy and longing, though, luckily far away from merry folk arias.
The epic "Beowulf" is likely most catchy song and the secret favourite at "Heilagmanoth". The musical version of the 10th century legend provides wonderfully sung melodies, epic bombastic parts, great guitar solos and even a bit of power metal. Afterwards follow again some more quiet, mainly acoustic and very lively songs, before the bombastic "La Lama il Ghiaccio e il Fuoco" closes the album by presenting again all elements of the DUNWICH sound.
Summary: DUNWICH delivers with "Heilagmanoth" the most intricate and most professional self production I ever heard. More important though: It's one of the best albums of the year so far! Who follows them on their journey and invests time appropriately is rewarded with musical variety and unique atmosphere. "Heilagmanoth" sounds like the soundtrack of an imaginary medieval film: gloomy, atmospheric and versatile. The wonderfully designed digipack can be ordered for 12 Euro (incl. shipping and package) via the webpage of the band or their MySpace-Page: http://www.myspace.com/dunwichband.
Daniel Fischer
Our evaluation system:
- 1-3 points: awful - leave it
- 4-6 points: partly ok, buying recommended only for diehard fans
- 7-9 points: some bright moments, rather above average, however the special "something" is missing
- 10-12 points: really good album, no major criticism
- 13/14 points: exceptionally good album, could become a classical piece, way above average
- 15 points: absolutely marvelous, appears maximum once per year
"Heilagmanoth": 13 out of 15 points
Tracklist:
- Aranmanoth
- La Casa dell'Alchimista
- Tales from the Ninth Wave
- Guardians of the Treshold
- Escape from Innsmouth
- Il Falso Principio
- Beowulf
- The Flying Fear
- Leaves on the Altars to the Moon
- Terra di Ambra Neve e Fuoco Nero
- La Lama il Ghiaccio e il Fuoco
- Heilagmanoth
Band:
- Bass - Roberto Fasciani
- Vocals - Francesca "Elayne" Naccarelli
- Keys - Claudio Nigris
- Percussion - Luca Iovieno
Source: http://www.musikreviews.de/reviews/2008/Dunwich/Heilagmanoth/
Translation: Peter Anders
"Heilagmanoth" - Artrock
In 1994 the Italian band Dunwich released their first album "Sul monte e il tuono" on Black Widow Records and the following year came "Il chiarore sorge due volte" on Pick Up Records. It got quite some publicity also outside Italy and it was my first contact with Dunwich. I liked it but I liked them even more when some years later a friend in Borås told me about the band and very kindly sent me a copy of "Eternal eclipse of frost", published in 1999 on the German label Rising Sun Productions. It's a little bit different and musically heavier than the fist two albums. I liked it and still like it very much, which made me miss the band. It was quiet until some months ago when to my big big surprise I found them on Myspace. There I read that there was a new album out soon and at the same time was I able to listen to some songs. They sounded very good so I contacted the band and asked them if I was allowed to review the new album. They said yes and now here we are with "Heilagmanoth".
The music Dunwich is playing is a symphonic, neoclassic rock, where symphony requires that synthezisers are banned, and only real instruments can play. Dunwich are Francesca "Elayne" Naccarelli on vocals, Claudio Nigris on keyboards and Roberto Fasciani on bass and more or less permanent drummer Luca Iovieno. Beside the basic line-up they borrow in professional musicians, here represented by strings and brass who together created the album's classical sound-picture who are completely free from trends. It do created another deep in the music who whould make Rhapsody cry of jealousity though here is it 100% real stuff.
During 54:20 minutes we get twelve songs served in something quite like a concept. The songs are floating and creating some fantastic landscapes of sounds portraying beautiful pictures. It's so very, very beautiful and attractive when Elayne tells her stories to the music that weaps forward. Sometimes it flashes but the calm and peace
always returns and I can't get enough, which very well proves that it's possible to write modern symphonic neoprog that sounds like Dunwich and nothing else. The originality is outstanding which is worth some extra points but it isn't nessesary as "Heilagmanoth" is capable to stand on its own legs, with influences from the classical Italian music at its best. Therefore do I chose not to pick out any particular song. Instead I recommend the listener to listen to the album which is as complete as it can ever be. I recommend everybody to discover Dunwich and I do hope that somebody will take in the CD for sale. Otherwise it can be bought via Dunwich's website.
Tore Larson
9,5 points of 10 (9,5/10)
Source: http://artrock.se/artrock2008/recension_2008_105.htm
Translation: Tore Larson
"Sul Monte é il Tuono" - Audion UK
As musical genres increasingly mix, the definitions of progressive rock,
industrial and gothic are beginning to lose all meaning, especially so in
the light of recent revolutionaries like Dead can Dance or Miranda Sex Garden.
Still within this generic area are Dunwich from Italy, who offer yet another
twist on this type of music. All the essential ingredients are here: powerful
female vocals, high-tech instrumentation contrasting with medieval and classical
influences, with a slightly weird edge to a strongly melodic music. Yet
being Italian and rock musicians (as opposed to being from the new-wave)
I think Dunwich could well have wider appeal.
Alan Freeman
"Sul Monte é il Tuono"
In a just few years, Black Widow Records has become Italy’s very best
psychedelic and progressive label, with every release being a different
showcase of musical class and craftsmanship. And what is more: every Black
Widow released is dressed in a carefully designed (gatefold or gimmix) cover
with lavish art-work (just the way it should be done). Another one of their
recent big discoveries is a trio from Rome called Dunwich. Yhe line-up is
unique: Claudio Nigris and Alessandra Vitanza both operate a large battery
of Korg and Roland synthesizers, while Katya Sanna sings (in Italian); they
were helped out by some friends on guitar, bass, violin and piano during
the recording of their debut LP/CD that can only be described as a contemporary
progressive masterpiece. Katya is gifted with a classically-trained voice
that permits her to reach for very high or low notes with ease and grace.
The combination of this vocal wealth and the curtains of majestically-played keyboards (plus the additional instruments) gives most songs a fragile, dreamy psychedelic atmosphere with esoteric, folky connotations. This is gonna be a big future collector’s item, no doubt about that! This LP is too beautiful not to have in your collection, believe me.
A mega-recommended timeless piece of art!
"Sul Monte è il Tuono" - Flash '94
Questo esordio dei romani Dunwich è decisamente impressionante. La
band, che propone un rock progressivo non privo di elementi hard, sorprende
per la sua capacità, davvero fuori dal comune, di comporre musica
oscura e maestosa. Una musica dal sapore antico, che riporta alla mente
il folklore celtico con i suoi boschi sacri e i suoi riti druidici e che
si sposa alla perfezione con le liriche, tutte ispirate a vecchi miti e
leggende. Un apprezzamento particolare va poi alla cantante Katya Sanna
che, sfruttando abilmente le sovraincisioni, crea trame vocali suggestive
e mai banali le quali, supportate dalle tastiere di Claudio Nigris, caratterizzano
le composizioni con un'atmosfera profondamente sacrale. Prendono così
vita sogns fascinose quali "I Petali e il Serpente", incantevole
ballata medievale con pregevoli interventi di violino; "Il Mondo Sconosciuto"
e "L'annuncio di Jgaluk", gotiche e solenni nel contrasto tra
il cantato etereo e i riff heavy della chitarra, o ancora "La Regina
della Aguane" con un finale al limite dell'epicità e un grande
guitar-solo dell'ospite Andrea Menarini. Tutti i brani sono comunque di
altissimo livello e capaci di avvolgere l'ascoltatore nel loro ammaliante
clima arcano. Qualche parola va spesa anche per l'elegante confezione. Infatti
"Sul Monte è il Tuono" è uscito (in tiratura limitata
di 500 copie) solo nella versione vinile con una lussuosa cover apribile
raffigurante, all'interno, un misterioso scenario notturno, ideale complemento
grafico ai contenuti dell'album. La Black Widow di Genova, competente nel
settore dark e progressivo, si dimostra ancora una volta garanzia di qualità
con un prodotto assolutamente irrinunciabile per tutti i cultori di musica
ossianica ed evocativa.
