Malauriu – Malauriu Review

Immediately, the listener presses that play button, where the music (personally) is not four individual pieces, but one continuous complexity and technicality horror piece that seems to create this dark-ritualistic experimental black metal. At the same time, dropping the aggression and extreme of black metal but kept it dark in the vein of (Italian horror film director) Dario Argento and (Italian musician and film composer) Claudio Simonetti — delivered by top-notch devilmanship -thus creating something different and unique -thinking out of the box.

As one continues through this nightmare – this ill omen of providing the listener with “the sounds bring to mind the divinatory art, the evocation of the deceased through the mirror.”

The figure of the master appears in the texts. This inner voice passes through the splitting, the correct way of practice—from the purification of the body, of fluids, of the absence of the body in the body (flesh other than itself), to the cleansing of the word, no longer reduced to a chained verb through the demolition of the written form.

The mind, thus, once liberated, can abandon itself to vision. Ultimately, from the observation of the prodigy of dormant nature and music that consists of a ritualistic blend of creating an intense, darkly engaging, and dramatic atmosphere in an exquisite cinematic horror film score and experimental material. This includes various compositions, such as sound FX/samples and sound effects, sinister synth/keys, spoken audio clips and clean female (ghostly) vocals/dark-ominous ritual (male) chants. Various moods, arcane rites, sorrowful atmospheres spooky/horror sound FX and other multiple elements can be found within the music.

The instrumentation of the guitar is a dark melancholy melodic riffage (damp with short aggressive bursts), clean acoustic pickings, various drums patterns/ritualistic drum patterns and folk instruments, while a ghostly atmosphere of black metal pushed in the background (omitting the aggression/extreme). Yet music that sounds like the music is holding the listener’s hand while walking through an abandoned graveyard, under a full moon. At the same time, the music can be sorrowful, depressive, horrifying, chilling – yet relaxing, upbeat and transfixing at times.The album comes to an end with the last song, L’Oro S’è Fattoa We want to give a shoutout to Malauriu for letting us review their self-titled album. Now, we’re going to wrap it up by talking about the final three sins and concluding the review.