1782 – “From The Graveyard”

1782 – “From The Graveyard” (Heavy Psych Sounds)
Battle Helm Rating
In 1782 Anna Göldi was condemned, tortured and executed in the last witchcraft trial of Europe. Over 2 centuries later, the Italian trio of Marco Nieddu (Guitar / Vocals), Gabriele Fancellu (Drums) and Francesco Pintore (Bass) formed their namesake band ‘….in honour of all the ‘witches’ murdered by the bigoted minds of many generations….’! Matching the depth of their inspiration with the darkest brand of earth shaking doom, don’t be expecting this to be any light hearted trip into the bayou or psyching out the cosmos, but rather a grim, guilt ridden inquisition in a musty old dungeon. From Nieddu’s reverb drenched guitar to his twisted wailing vocals, Pintore adds his roughly hewn monster rumbling basslines driven by Fancellu’s drum pounding and cymbal smashes – together certifying the birth of another heavy power trio! “From The Graveyard” is the band’s sophomore, having released their self-titled debut in 2019, so they’ve not wasted any time in laying in with 8 more fire ‘n’ brimstone tracks while the previous embers are still smouldering. As the utterly captivating down tuned riffs grimly crash into your soul on ‘The Chosen One’, Nieddu’s anguished wail works the torment of the pitiful Anna Göldi into your mind and as Pintore and Fancellu add to the slowly creeping torment, you can only imagine the victims coming to terms with their desperate fate. Leading with its cruel melody before adding in heavy droning riffs exquisitely topped off by warbling on ‘Inferno’, the mid song ambient feedback and somber strings prepare the procession path as the drums thud ominously to the condemned being led to the stake before the song ignites, symbolic no doubt of the purifying fires being lit. As if in homage to all the depravity, the distorted doom riffage on ‘Seven Priests’ is an offering worthy of being bestowing at Tony Iommi’s hoofs, such is its darkness and as the possession takes hold with Pintore and Fancellu adding their own rhythmic incantations, you will finally know the pain and suffering of Anna Göldi in the year of our Lord, 1782.
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