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Reviews:
Rose Rovine e Amanti | Rituale Romanum
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| From Metal
Zone: (by Gi.Bi.)
Rose Rovine e Amanti, progetto solistico
del chitarrista e cantante Damiano Mercuri, noto anche come promotore
di progetti di musica cristiana e insegnante di chitarra, oltre che polistrumentista.
One man band capitolina nota sopratutto in Germania e Inghilterra,
piuttosto che in patria (come al solito) e sotto contratto con l'etichetta
inglese Cold Spring specializzata nel genere neofolk.
Questo è il secondo lavoro di Damiano Mercuri, segue
il precedente "Grain" uscito in collaborazione con il gruppo
tedesco Belborn.
"Rituale Romanun" si avvale della collaborazione
di Josef Klumb dei "Von Thronstahl", dei succitati Belborn,
Pamela Gargiuto al violino e Lucio Leone alla batteria e percussioni,
e ci offre uno spaccato sulla cristianità ai tempi del Sacro Romano
Impero.
Molto ispirata la copertina dove troviamo San Michele Arcangelo
che trafigge con la spada Satana.
Il genere come nella tradizione di Damiano Mercuri e un neofolk
molto intenso e emozionale, a volte oscuro ma sempre coinvolgente, con
riuscitissime venature classiche e una sperimentazione mai scontata e
mai troppo invadente, tutti i brani sono veramente belli, ma sopratutto
molto curati sia nel songwriting e sia nei testi, si vede subito che dietro
a questo progetto c'è una grande passione e tutto viene curata
in maniera quasi "maniacale".
Come dicevo tutti i brani sono su grandi livelli, ma vorrei
segnalarvi "Angel always stands for us”, "Dersu uzala"
e "Soldato cristiano" con la partecipazione di un grande special
guest Josef Klumb dei Von Thronstahl.
Lavoro consigliato ma non a tutti, non è il cd "facile"
è un progetto che va ascoltato attentamente e assimilato e sicuramente
anche capito, ma allo stesso tempo dotato di un fascino intrinseco che
vi conquisterà. |
| From Rosa
Selvaggia: (by Nikita)
La lunga gavetta fatta dal progetto di Damiano
Mercuri ha finalmente “dato i suoi frutti”. Dopo molteplici
CDR e partecipazioni a compilation, tra cui anche la nostra “Atto
IV” con il brano "La Danza Del Colibrì", presente
anche in questo CD, è riuscito ad avere l’attenzione di una
delle label per eccellenza fra quelle dedite al neofolk, la Cold Spring
dei teutonici Von Thronstahl. I Rose Rovine e Amanti riescono a dare poesia
ai loro brani, come pochi sanno fare oggigiorno nella scena apocalittica.
Tra le tracce che mi colpiscono di più, ammiro quelle cantate in
italiano: oltre la già citata “La danza del colibrì”,
anche “Noi non dimentichiamo”. Ma anche i brani cantati in
inglese riescono a donare lucentezza al progetto di Damiano, come “Angel
always stand for us”. Preferisco non dilungarmi molto ma di consigliarvi
vivamente l’ascolto di questo CD, dato che i RRA sono tra i migliori
nomi del neofolk italiano. Buon Ascolto! |
| From Ver
Sacrum: (by Roberto Alessandro Filippozzi)
In passato mi era già capitato di
recensire un lavoro di Rose Rovine e Amanti, ovverosia del solo-project
dell’artista romano Damiano Mercuri: in quel caso si trattava di
un demo autoprodotto, ma ricordo che esso mi colpì in maniera molto
favorevole, non soltanto perché conteneva musica ben fatta e ispirata,
ma anche per la veste grafica con la quale veniva presentato, davvero
fine, elegante e ricercata. Da allora sono passati quasi cinque anni e
ovviamente molte cose sono cambiate nella scena neofolk (che ormai da
tempo continua a ripiegarsi su se stessa…), ma per fortuna capita
ancora di imbattersi in album che riescono veramente a colpire nel segno
e ad emozionare l’ascoltatore. Rituale romanum è senz’altro
uno di quei pochi che lo fanno, al suo interno infatti non troviamo le
solite canzoncine sempliciotte suonate così così (e cantate
pure peggio…), ma composizioni che, pur basandosi su una certa linearità
strutturale, sono contraddistinte da melodie suadenti e piacevolissime,
oltre che da parti vocali convincenti e piuttosto originali. Basta sentire
anche pochi pezzi per rendersi conto che D. Mercuri è uno di quei
musicisti che non lasciano nulla al caso e che dedicano ad ogni minimo
dettaglio una cura certosina, non per niente i suoi brani sanno mettersi
in evidenza sia da un punto di vista formale che contenutistico, regalando
forti emozioni grazie alla loro intensità e, perché no,
anche alla loro immediatezza. La mia opinione è che l’album
sia da apprezzare nella sua totalità perché non include
alcun episodio di livello inferiore rispetto ad altri, ma non posso fare
a meno di citare alcune canzoni che mi hanno particolarmente colpito,
vedi ad esempio le ottime “Perso nel cuore di una foresta nella
nera Germania” (gran bell’esempio di neo-classical-folk caratterizzato
da oscure atmosfere e da un azzeccato crescendo sonoro), “Angel
always stands for us”, “Dersu uzala” e “Soldato
cristiano” (nella quale compare come special guest Josef K. dei
Von Thronstahl). Un cd davvero notevole insomma, che dimostra ancora una
volta che, almeno per ciò che riguarda questo particolare genere
musicale, l’Italia ha cose parecchio interessanti da dire… |
| From Darkroom:
(by Roberto Alessandro Filippozzi)
Dopo due releae in CD-R (il mini eponimo
del 2002 ed il full-lenght “Woyzeck” del 2003), il mini “Noi
Vi Odiamo” del 2004 e lo split-album in compagnia dei Belborn della
scorsa estate, il progetto artistico di Damiano Mercuri trova nella titolata
Cold Spring il giusto punto di riferimento per la pubblicazione del nuovo
album “Rituale Romanum”. Sotto la supervisione artistica di
Josef K. dei Von Thronstahl (che collabora anche attivamente in alcuni
brani), Damiano realizza un lavoro che abbraccia definitivamente sonorità
di stampo neofolk, relegando in secondo piano le aperture neoclassiche
ed accantonando quasi definitivamente certe propensioni industrial ed
ambient degli esordi, come dimostra già da subito l’ariosa
e solenne intro. Le note della chitarra acustica si tingono d’intimismo
negli umori di “Perso Nel Cuore Di Una Foresta Nella Nera Germania”,
song capace di accendersi con possanza grazie ai solidi beat percussivi,
mentre “Soldato Cristiano” si rivela una solenne e sontuosa
marcia dai magniloquenti toni sacrali; la vena ‘old-cabaret’
di RR&A, molto più presente nei primi lavori, riemerge in parte
nella teatralità della melodica ed intensa “La Danza Del
Colibrì” (ispirata al Macbeth di Shakespeare), ben corredata
dal violino di Pamela Gargiuto, mentre “Dersu Uzala (Acqua, Fuoco,
Vento)”, ispirata da Arsen’ev e Kurosawa, è intrisa
di umori poetici molto suggestivi. Affiora un forte senso di tristezza
nell’appassionato tributo al regista Theo Van Gogh (autore di un
documentario sulla condizione delle donne nel mondo islamico, ucciso 2
anni fa da un estremista musulmano) “Noi Non Dimentichiamo”,
e l’intensità resta altissima col pathos espresso nella sofferta
“Angel Always Stands For Us”. Dallo split con Belborn viene
ripresa l’apprezzata “Famiglia!”, mentre riaffiora parzialmente
qualche squarcio industrial nella distorta ed a tratti ruvidissima “Adorazione
Dell’Europa” (remake di “Adoration To Europa”
dei Von Thronstahl); gran finale con l’ultimo atto “Aachen”,
che parte da sample cinematografici e melodie delicate per evolversi in
una solenne ed incessante marcia elettrica dal piglio sacrale. “Rituale
Romanum” si dimostra un’opera neofolk completa ed ispirata,
ricca di pathos (anche a livello d’interpretazione vocale), narrata
con sentimento e capace di trattare temi forti con l’autorevolezza
di chi ha ormai preso piena consapevolezza delle proprie abilità
artistiche: un tassello significativo per la crescita dell’intera
scena neofolk nazionale. |
| From Holy
Steel: (by Gregorio Bardini)
Ecco finalmente l’album di Rose Rovine
Amanti che presentano questo bellissimo “Rituale romanum”
dopo l’esperienza positiva di “Grain”, un CD uscito
in collaborazione con il celebre gruppo tedesco che risponde al nome di
Belborn.
Il gruppo capitolino, come al solito più noto all’estero
(specialmente in Germania ed in Inghilterra) che in patria è in
realtà una one-man-band guidata dal chitarrista Damiano Mercuri,
infaticabile promotore di progetti di “musica cristiana estrema”
nell’ambito della “subcultura neofolk” ma anche cantante
e polistrumentista (tastiere, percussioni, mandolini e altro).
Nell’ album troviamo brani nel tipico stile folk apocalittico
con venature melodiche di stampo classico (Damiano Mercuri è anche
un valente chitarrista ed insegnate di chitarra classica) e sperimentalismi
di qualità, all’insegna del gusto e della piacevolezza.
Particolarmente riusciti i brani intitolati ‘Soldato
cristiano’, ‘Famiglia’ e ‘Angel Always Stands
For Us’ pervasi da uno spirito cristiano molto evidente, profondamente
radicato nell’ideale del Sacro Romano Impero (vedi il brano ‘Aachen’),
unico vero esempio in passato di unità cristiana dell’Europa,
ben diversa dall’attuale Unione Europea gestita dalle banche.
Tutti i testi, i titoli dei brani e la grafica stessa sono
permeati dallo stesso spirito: quello dell’Europa dei cavalieri
e delle cattedrali. Splendida la copertina dove possiamo vedere San Michele
Arcangelo che trafigge Satana.
Il risultato è di gran lunga superiore, a livello musicale,
delle centinaia di cloni dei Sol Invictus che si possono ascoltare in
tutto il globo terracqueo. Hanno contribuito alla riuscita di questa produzione
dell’albionica Cold Spring, una delle etichette più prestigiose
nell’ambito del neofolk, l’apporto di ospiti quali Josef Klumb
dei teutonici Von Thronstahl, i Belborn, Pamela Gargiuto al violino e
Lucio Leone alle percussioni e alla batteria.
Ottimo e consigliato.
|
| From Blow
Up: (by Paolo Bertoni)
Dopo un mini di un paio d'anni fa, "Noi
vi odiamo", ed il recentissimo split / collaborazione con Belborn
"Grain" - con cui ha in comune Famiglia! - viene il
vero debutto per Rose Rovine E Amanti, per Cold Spring. Le ballate di
Damiano Mercuri, titolare della sigla, raccolte in "Rituale Romanum",
pur seguendo coordinate prettamente folk noir applicate efficacemente
su intelaiature scheletriche e prive di ridondanze ma che pure s'arricchiscono
talvolta di mandolini e violini, decisivi nella struggente Angel Always
Stands For Us, hanno tratto distintivo nella coraggiosa scelta di
prediligere per lo più la nostra lingua in un cantato dall'enfasi
ora trattenuta e sommessa, si veda Perso nel cuore di una foresta
nella nera Germania, ora crescente, in Noi non dimentichiamo,
in memoria di Theo Van Gogh, ora lasciata liberamente fluire come
in La danza del colibri o Dersu Uzala, il momento più
alto dell'album. Tra i brani in inglese spicca Soldato Cristiano,
in cui partecipa Josef K di Von Thronstahl, pezzo che altresi asseconda
le abituali propensioni muzak del progetto germanico, anche omaggiato
con Adorazione dell'Europa. |
From DSide:
(by NoFuture)
RRA è il progetto solista intrapreso
nel 2002 da Damiano Mercuri, che come afferma lui stesso sul suo sito,
combina del «neo-folk italiano con un tocco di neoclassicismo sacrale,
il tutto mischiato a del buon vecchio fumoso Cabaret Europeo». 'Rituale
Romanum', prodotto nel 2006 per la nota etichetta britannica Cold Spring,
è il primo vero e proprio CD-LP che vede la partecipazione di musicisti
quali Josef K. (Von Thronstahl), i Belborn e la violinista Pamela Gargiuto.
Ottime sono state anche all’estero le recensioni raccolte da questo
lavoro, che hanno puntualmente evidenziato l’abilità dell’artista
nostrano nell’adattare a sé un genere come il Neo-folk -
assai spesso impoverito e riproposto pedissequamente senza alcuna inventiva
- riuscendo a percorrere un cammino a metà tra tradizione e innovazione,
grazie anche all’intreccio di strumenti classici come la chitarra
acustica, il mandolino e il violino a sonorità invece più
contemporanee e rockeggianti. I richiami al Medioevo e alle radici cristiane
nell’album, dedicato alla cittadina tedesca di Aquisgrana, resa
celebre da Carlo Magno che vi fissò la propria dimora, sono ricorrenti
sia nei testi sia nell’assetto grafico della copertina - che ritrae
simbolicamente la disfatta del male, incarnato in un essere dalla forma
diabolica, per mano di un Santo dallo sguardo fiero, chiuso nell’armatura
e con la spada sguainata. Anche musicalmente 'Rituale Romanum' risente
molto di questi influssi, tanto che l’Intro ci fa penetrare da subito
nel climax di un’epoca lontana che parla di lotte oscure, di cavalieri
e di leggende. Si viene così catturati da brani delicati e emozionanti
ma anche vitali e energici come 'perso nel cuore di una foresta nella
nera Germania' (Nature is the perfume of Grace) con il canto di Mercuri,
a tratti così somigliante a quello di Brendan Perry (DCD), cullato
dagli arpeggi della chitarra e dal mandolino fino all’esplosione
sul finale dell’elemento percussivo, sempre più sovrastante.
Più ruvida e oscura è la successiva Soldato Cristiano (Let
us Pray in Silence), nata dalla collaborazione con Joseph K. - che ritroviamo
anche nel brano finale Aachen (Sacro Romano Impero) — centrata sui
temi del Cristianesimo. In perfetto stile Death in June, ma senza mai
rinunciare alla propria individualità, si vengono a comporre pezzi
quali: 'La danza del colibrì (Power is blood) after Macbeth by
W. Shakespeare', dal testo fortemente simbolico cantato in italiano, al
cui svolgimento Mercuri riesce a regalare un sapore fresco e dinamico
attraverso il susseguirsi di momenti musicali assai diversi, su tutti
a emergere è il violino suonato con maestria dalla Gargiuto; 'Dersu
Uzala (Acqua, Fuoco, Vento) (a complex fashion for a simple man) after
Vladimir K. Arsen ev / A. Kurosawa' che contiene nel titolo un chiaro
riferimento al omonimo film (1975) del regista giapponese Kurosawa; 'Noi
non Dimentichiamo' (2 Novembre 2004) in cui tutto si fa più morbido
e solo accennato dando vita a un toccante canto d’addio dedicato
al regista olandese Theo Van Gogh, assassinato nel 2004; e il carattere
essenzialmente Neo-folk è mantenuto anche nel brano 'La Famiglia'
a cui collabora l’ottima formazione dei Belborn. Nella struggente
'Angel always stand for us (Don t be afraid!)' riappare il suono del violino
e la voce di Damiano, che sembra far propri degli accenti alla Bowie,
elabora quello che possiamo definire un soave incanto. Nella parte conclusiva
di 'Rituale Romanum', con 'Adorazione dell’Europa' — riproposizione
del brano dei Von Thronstahl dal loro album del 2003 'Bellum, Sacrum Bellum!?'
- prevalgono delle atmosfere più vigorose e aspre, molto più
affini a sonorità a noi contemporanee, con l’elemento percussivo
a scandire con fermezza il canto di Mercuri. La conclusiva 'Aachen (Holy
Roman Imperium)', che vede nuovamente la collaborazione di Josef K, ritorna
ad atmosfere più pacate - recuperando alcuni passaggi del precedente
pezzo 'Soldato Cristiano' e unendo in un solo canto lingue e voci diverse
- dall’italiano, al tedesco al francese.
Senza dubbio una delle migliori pubblicazioni della Cold Spring
del 2006! Un alternarsi di composizioni ottime sospese tra passato e presente
ci avvolgono lungo tutto l’ascolto di questo lavoro. Da non perdere.. |
From Elegy
Ibérica: (by José de Almeida)
A equipa da Cold Spring bem se pode orgulhar
por apadrinhar o primeiro álbum de longa duração
do projecto solo de Damiano Mercuri, Rose Rovine e Amanti. Após
algumas edições em formato CDr e um pequeno EP, o projecto
romano lança finalmente o seu primeiro registo oficial intitulado
“Rituale Romanum”. Conforme o nome indica, a temática
inerente a este álbum vai ao encontro da idiossincrasia base de
Rose Rovine e Amanti, ou seja, a apologia ao cristianismo militante, voltado
para o culto de S. Miguel Arcanjo, padroeiro dos ideólogos cristãos
nacionalistas europeus. “Rituale Romanum” promove a mensagem
cristã, fazendo-a eclodir com o universo pecaminoso do cabaret
europeu. Trata-se de um disco de neofolk genuíno, com um toque
subtil de neoclássico, contando entre outros, com a participação
de convidados como Belborn, Pamela Gargiuto ou Josef K, membro dos germânicos
Von Thronstahl, também encarregue da supervisão artística
deste lançamento. Destaque para alguns temas como “Perso
nel cuore di una foresta nella nera Germania”, “Noi Non Dimentichiamo”,
“Famiglia!” ou “Adorazione dell’Europa”,
uma versão de Von Thronstahl. |
From Heathen
Harvest: (by SilverHand)
'Rituale Romanum' is the latest full-length
release from Rome's Rose Rovine e Amanti, the acclaimed solo project formed
in 2002 by Damiano Mercuri with the aim of combining 'Italian neo-folk
with some majestic, sacral, deep Christian visions, mixed with a good
touch of old European cabaret sin'. Following one MCD and two CDR releases
(one of which was a concept release based on Georg Büchner's novel
'Woyzeck'), and numerous compilation appearances, Damiano's use of Christian
imagery and inspirations has polarised the scene response into a situation
of 'you either love it or hate it'. To those familiar with the works of
Julius Evola however, the championing of The Holy Roman Empire as the
last example of Western Imperium makes perfect sense, and thus Rose Rovine
e Amanti can be seen as following in the Traditionalist footsteps of many
of their illustrious fellow countrymen. Damiano's statement of intent
includes standing against cowards, betrayal, false Europe, the dictatorship
of relativism, and Brussels 'the new Babel', while giving his support
to Christianity, honour, true deep friendship, art & beauty, and 'a
new strong Italia'. Demonstrating the respect already gained from fellow
musicians, Rose Rovine e Amanti are joined in this latest musical crusade
by collaborators such as Josef K. from Von Thronstahl, Pamela Garguito
(on vocals and violin), and Belborn (with whom he recently released the
split 'Grain'), and many have eagerly awaited this first full length CD
release with great anticipation.
Beginning with the preliminary introductory track we first
hear the strains of Damiano's instantly recognisable acoustic guitar style
overlaid with low droning sacral chant and militaristic drumming, which
slowly loops and builds an atmosphere of ritual drive as gentle choir
pads swell beneath in pious fashion. As the various elements slowly fade,
'Perso nel cuore di una foresta nella nera Germania (Nature is the profume
of Grace)' then brings the first full song, as delicate fingerpicked riffs
combine with dynamic mandolin phrases. The male vocal part weaves an entrancing
spell with respectful tones of worship and dedication, as tinkling percussion
builds into a more distorted warlike industrial beat, inspiring visual
imagery of the dust of the Holy Lands filling the mouths of the marching
crusaders taking enlightenment to the heretic Saracens. This slowly but
surely elaborates upon the atmosphere from the intro and leads us to 'Soldato
Cristiano (Let us pray in silence)', where acoustic rhythms and electric
leads back Mr. Mercuri's voice, which is now unleashed for the first time
in all of it's soaring impassioned glory. Adding weight to each sung line
is the spoken vocal of Josef K., which adds strength and esolve alongside
the combative snare patterns in a hymn to the 'glory and power' of the
'Christian soldier' whose 'time will rise again'. Alongside the stirring
chord progressions, the melody of the female backing vocals and muted
synth bagpipe adds further emotional depth (almost in the dramatic style
of a classic Ennio Morricone filmscore to a Sergio Leone epic) and we
glimpse the power of Rose Rovine e Amanti's majestic musical style in
full flight for the first time, both evocative and invigorating. Ending
in a final glorious flourish of spoken word and percussion, 'La danza
del colibrì (Power is blood)' then brings Shakespeare's MacBeth
as inspiration, adding the violin of Pamelo Garguitoto to the previous
instrumentation. While oscillating between both spoken and sung passages,
the dizzying folk dance guitar and gossamer violin lines intertwine seductively,
while the drumming is reminiscent of drunken patrons in a local bar pounding
the tables with their fists in an attempt to spur the performers to new
faster and wilder excesses.
The muses for the next track 'Dersù Uzala (Acqua, Fuoco,
Vento) (a complex fashion for a simple man)' are then named as Russian
explorer Vladimir K. Arsen'ev and Japanese god of cinema Akira Kurosawa.
After a brief sample of speech, strummed driving acoustic guitar once
again spars with powerful electronic beats in a now familiar energising
combination, paying further personal homage to inspirational historical
figures. Further tribute is also made to rebel artist Vincent Van Gogh
in 'Noi non dimentichiamo (2 Novembre 2004) (In memory of Theo Van Gogh,
we salute you!)', where the overall feel is much more restrained and winsome,
with quiet single synth notes marking the chord changes, and glockenspiel
softly entwining with the choruses. Respectful and sedate, with just a
touch of poignant confusion, this matches the subject matter superbly
and is very evocative of pastoral scenes of old cosmopolitan Europe, and
possesses a nocturnal dreamlike quality highly descriptive of an artists
creative process. The contribution of Belborn to 'Rituale Romanum' is
then made with the track 'Famiglia! (version)', a subtle reworking of
a track from the previous collaborative split 'Grain', and is Rose Rovine
e Amanti's ode to family and ancestry. This is nearly identical to the
brief original version, albeit in a slightly better produced mix, with
the same familiar repetitive chords shifting beneath ulti-layered male
and female speech as of a meeting of many previous generations in united
strength. 'Angel always stand for us (Don't be afraid! )' then returns
to Christian themes of divine protection, with further virtuoso fingerpicking
and violin backing Damiano's unique quavering voice in another exemplary
song of plaintive neofolk both devotional and cultural.
'Adorazione dell'Europa' then pays thanks to the works of
Von Thronstahl in a suitably themed call for a return to old European
values, with deep affection and longing ever-present over a simplified
mix of guitar, sparse electronic effects, and background samples. Joined
by the now familiar pounding synthetic percussion and wailing electric
leads in its final duration thus adding gravitas and sorrow for lost past
glories, the vocals fade out to a resigned defeated whisper and so bring
us to the closing piece of 'Rituale Romanum', 'Aachen (Sacro Romano Impero)'.
Joined once more in a final appearance by Josef K., and heralded by samples
of Germanic speech, this is Rose Rovine e Amanti's ode to their inspirations
of past Catholic Imperial heights. Soft calls of 'rise again Catholic
armies' from Josef builds alongside further affected and multilingual
speech and chants, leaving us in no doubt as to the idealised future they
would like us all to see once more as a light showing through the modern
darkness. Gently mesmeric in the sum of its parts, one cant help but feel
sad as the album draws to its end, and Damiano's cries of 'time to go.....I
want to stay, please remain...' has the listener wholeheartedly agreeing,
utterly enraptured in the sanctified womb of the band's creations. The
immediate urgency of the final strains of drumming and weaving choral
melodies enhances the now familiar cinematic depth of the composition,
and it is easy to imagine the victorious armies of history marching into
the past through the intangible mists of time as 'Rituale Romanum' draws
to a close.
With this release Rose Rovine e Amanti truly have thrown down
the gauntlet both musically and ideologically in a commendable attempt
to keep the neofolk genre alive and progressing into new territories.
In their arrangements a broad variety of moods are conjured with a relatively
restrained selection of instrumentation, with Damiano's unique inspirational
singing surely being their 'Jewel in the Crown', although as all the other
used elements blend behind him so perfectly this is certainly not to suggest
that they are a 'one trick pony' in any way or form. The depth of emotion
and personal involvement with their themes must also be acknowledged,
and with the wealth of various inspirational figures paid homage to they
are definitely not limited to stagnant Christian realms as others have
suggested. While no fan of the dogma largely responsible for the dissolution
of Ancient European culture myself, by keeping within the philosophical
context of a higher spiritual guiding force which we can only attempt
to progress towards, that unique Western heroic ideal of physical strife
in seeking the unattainable is born from the ashes of a dead religion
like a shining phoenix. This is surely no mean feat that even the most
begrudging of the band's detractors would have to accept. It is also a
refreshing change to hear such heartfelt honest passion in such music
once more, instead of an unproductive self-indulgent or self-pitying 'sorrow
for sorrow's sake', a pitfall that many new acts seem to fall into before
finding their footing (and for such timely reminders we all have much
to thank Rose Rovine e Amanti for). Even if you end up hating certain
aspects of their ideology (which is an uninformed immature knee-jerk reaction
at best), everyone should hear 'Rituale Romanum' as a reminder of what
the neofolk genre should always be striving towards - complete emotional
honesty, enlightenment by the Western Heroic ideal, and new valid expressions
of our shared and ancient cultural heritage. In the face of the constant
tidal wave of modern mass-media's ideological sewage, this is one band
that stand as a signpost pointing the way to a better worthwhile future,
and long may they reign. Miss this at your peril. |
From Compulsion:
(by Tony Dickie)
Rose Rovine e Amanti inhabit the neo-folk
genre but on Rituale Romanum they amply demonstrate that they're anything
but generic. On their first full length CD, a deeply dark and romantic
collection of songs inspired by Roman culture and Christianity, they gently
accomodate neo-classical, mediavel music and elements of pop and rock
music. The melodic voice of Damiano Mercuri and the numerous guest vocalists
that lead the acoustic based tracks are surrounded by a wide musical palette.
'La Danza Del Colibri and 'Derse Uzala' are songs of melodic neo-folk,
with the former accompanied by violin and the latter bolstered by striking
percussion and steeped in Italian based samples. The gentle plaintive
strum and soft keyboard accompaniment of 'Noi Non Dimentichiamo' veers
close to Death In June. It's the exception to the rule but the hauntingly
catchy vocal melody sends the song heavenwards. A more mediaeval presence
is felt on 'Perso Nel Cuore Di Una Foresta Nella Nera Germania' where
mandolin and guitar entwine before being drenched in bombastic percussion
and crashing cymbals. 'Angel Always Stands For Us' swathes the guitar
in a beautiful violin score to create ringing acoustic folk. Yet much
of Rituale Romanum's variation springs from the guest contributors. Holger
and Susanne of Belborn feature on 'Famiglia!' their German voices intermingling
over intricate guitar patterns. Josef K. of Von Thronstahl adds a sullen
David Bowie vocal to 'Soldato Cristiano' taking the rising acoustic guitar
and power chords into pop-rock realms. It's later reprised on the final
track taking the "Christian soldier" theme into a dark romantic
atmosphere lead by Josef K., surrounded by heavyset massed vocals and
offset by the gentle female vocal of Chiara.
Rituale Romanum is heavily influenced by Cold Spring labelmates
Von Thronstahl. Aside from Josef K.'s guest vocals, he's credited with
artistic supervision and there's even a Rose Rovine e Amanti rendition
of Von Thronstahl's 'Adorazione Dell'Europa' which goes from cheering
hordes through strident acoustic strum with contrasting harsh and melodic
vocals that quite unexpectedly lunges into a ravaging piece of rock music.
Rituale Romanum is an unusual release for Cold Spring, a label
more associated with dark ambient but with it striking black, white and
red visuals and representations of the Archangel Michael it's designed
to attract the attention of Von Thronstahl fanatics. Yet even without
this association the classy arrangements of Rose Rovine e Amanti would
ensure it a successful entry into the neo-folk genre. It will be interesting
to see how they develop from here but Ritual Romanum is an effective blend
of dark romantic songs.
|
From Earshot:
(by Mike)
Nur kurz nach der Split mit BELBORN gibt
es mit „Rituale Romanum” das erste Album der italienischen
Neofolk-Gruppe ROSE ROVINE E AMANTI zu hören. „Rituale Romanum“
bezeichnet die Grundlage des Vatikans zur Durchführung eines Exorzismus.
Die Wahl des Albumtitels, Songtitel wie „Soldato Christiano“
und die sakralen Bilder im Booklet lassen wenig Zweifel daran, dass es
sich bei der Gruppe um brave Katholiken handelt, wobei Mastermind Damiano
Mercuri was dieses Thema angeht durchaus nicht verbohrt und engstirnig
ist und sehr wohl auch andere Ansichten gelten lässt. Sonst wäre
eine Splitveröffentlichung mit den überzeugten Neuheiden BELBORN
wohl nicht möglich gewesen.
Nach einem Akustikgitarrenintro geht es im typischen ROSE
ROVINE E AMANTI-Stil los, „Perso Nel Cuore Di Una Forresta Nella
Nera Germania“ ist sakral klingender italienischer Neofolk, der
durch seine eingängigen Melodien leicht ins Ohr geht. Anfangs ein
sehr ruhiges Stück, wird es mit Einsätzen des Schlagzeugs zusehends
treibender. „Soldato Christiano“ kursierte ja bereits auf
einer Download-Compilation, sollte daher dem einen oder anderen schon
bekannt sein. Musikalisch ist das Stück sehr eingängig ausgefallen
und variiert zwischen ruhigen und treibenden, fast schon rockigen Passagen.
„La Danza Del Colibri“ wird von Akustikgitarren und einer
Violine getragen, für welche sich wieder Pamela Gargiuto verantwortlich
zeichnet, die ROSE ROVINE E AMANTI auch auf der Mini „Noi Vi Odiamo“
unterstützte. „Dersu Uzala“ beginnt recht ruhig, es kommt
aber bald ein Industrial-artiger Drumcomputer zum Einsatz, der dem Stück
einen kalten, martialischen Charakter verleiht. „Noi Non Dimentichiamo“
wird dann wieder von den sanften Akustikgitarren und Damianos wunderbarem
Gesang getragen, das Stück erinnert an die an anderer Stelle bei
Earshot besprochene Debüt CDR der Gruppe. „Famiglia!“
ist schon von der Split mit BELBORN bekannt, das Stück ist gleichzeitig
eine Kollaboration mit der mittlerweile aufgelösten deutschen Gruppe.
Dass BELBORN nicht wirklich meinen Geschmack treffen habe ich ja im Review
der Split schon erwähnt, daher ist es weniger verwunderlich, dass
„Famiglia!“ für mich nicht unbedingt zu den Highlights
des Albums zählt. Weiter geht es mit dem ruhigen „Angel Always
Stands For Us“, bevor es mit „Adorazione Dell Europa“
wieder etwas heftiger und auch ziemlich Industrial-lastig wird. Das Album
endet mit dem Stück „Aachen“, welches bereits vom bei
Earshot ebenfalls besprochenen Salon Décadence Sampler bekannt
ist.
Fazit: Nach zwei CDRs, einer Mini, einer Split und einigen
Samplerbeiträgen kann auch das erste offizielle Album der Italiener
auf ganzer Linie überzeugen. |
From Ascension:
(by Alex Daniele)
Inizialmente visto come uno dei tanti outsider
della proficua scena underground romana, col passare degli anni Rose Rovine
E Amanti è riuscito ad intagliarsi uno spazio all'interno dello
scenario apocalittico internazionale...
E così dopo una manciata di
CDR, un singolo ed un CD split con Belborn, Rose Rovine E Amanti siglano
qui il loro debutto via Cold Spring. Anche se il suono prediletto dal
solo project di Damiano Mercuri è il folk apocalittico "tradizionale",
non mancano qui sprazzi di originalità ed individualismo sonoro-estetico.
Lo dico sempre: prima di approdare ad un album di debutto è necessario
fare un po' di gavetta. Damiano l'ha fatta e ha attesto la piena maturazione
del suo suono apocalittico per consegnare al pubblico con lavoro fortemente
intriso di decadentismo romantico e melanconia.
La forza del folk di Rose Rovine E Amanti
è quello di riuscire a miscelare con sapienza le palesi influenze
sonore (dai Death In June / Current 93 alle ballate dei cantautori italiani)
per poi ributtarle nell'aria alla luce di un nuovo (decadente) spettro
estetico.
Un CD perfetto per celebrare la fine dell'estate
e il ritorno della caduta delle fogile e degli imperi... Ospiti d'eccezione
sull'album: gli amici Josef K (Von Thronstahl / Forthcoming Fire) e Belborn.
Un disco fatto con cuore che spero riuscirà, attraverso il suo
intimismo sonoro, a riportare un po' di linfa vitale al tanto bistrattato
mondo del nuovo folk.
|
From Filth
Forge: (by Simon V.)
Rose Rovine e Amanti is one of the new-comers
on the Italian neofolk scene, active since 2002 in the person of Damiano
Mercuri and with a few extremely limited releases, most notably a split-CD
with the now defunct Belborn on War Office Propaganda. "Rituale Romanum"
is the first official full-length album, produced by Cold Spring and that
will undoubtedly put a new spot light on the band's name. Musically speaking,
at a first listening the main influences would seem to be Death In June
and Current 93, but not the typical guitar-and-voice ones who are the
bearing pillars of the neofolk sound, rather those of the 1980s', more
experimental and with large use of drum machines. Damiano's voice itself
recalls Tibet's in certain passages, but he sings and with refined skill,
doesn't declaim nor recite. Talking about vocals, during the listening
a lot of other inspirers emerge, like David Bowie, or even certain dark
Italian folk singers of the 1970s', whose ghosts are evoked in the songs
with Italian lyrics. The booklet sports even a quote from Battisti / Mogol,
probably the most famous couple during the golden years of the "national-popular"
Italian music.
A typically acoustic intro leads the listener to the first
song, "Perso Nel Cuore Di Una Foresta Nella Nera Germania",
a gloomy and low-keyed ballad which suddenly explodes in its final part
at the sound of a gong and of a hammering drum machine. It's then a crescendo
of extremely surprising and striking tunes, like the epic "Soldato
Cristiano", a proud and mighty hymn centred upon acoustic and electric
guitar, gong, marching drum machine and Damiano's powerful vocals, here
strongly reminding of David Bowie's "Hunky Dory". Even more
dramatic are "La Danza Del Colobrì", with lyrics inspired
by Shakespeare's "Macbeth", great violin tunes and chorus, and
"Noi Non Dimentichiamo (2 Novembre 2004)", a sad and melancholic
protest ballad dedicated to the memory of Teo Van Gogh, assassinated by
a Muslim extremist in the Netherlands. Best song of the album's prize
is won by "Dersu Uzala (Acqua, Fuoco, Vento)", quoting Akira
Kurosawa's film with the same title in a bardic chant of gloomy charm
and might.
Beside the aforementioned tracks, the rest of the album is
centred upon Europe, Christianity and the legacy of the Sacred Roman Empire,
particularly evident in "Adorazione Dell'Europa" and "Aachen",
both featuring the contribution of Von Thronstahl. Other well-known guests
are Belborn, who star in the very typically German neofolk of "Famiglia!".
With "Rituale Romanum", Rose Rovine e Amanti definitely left
his inspiration sources behind the back, forging a personal and recognizable
sound which brings some originality in the by now extremely sterile niche
of neofolk. |
From Compulsion:
(by Tony Dickie)
Rose Rovine e Amanti inhabit the neo-folk
genre but on Rituale Romanum they amply demonstrate that they're anything
but generic. On their first full length CD, a deeply dark and romantic
collection of songs inspired by Roman culture and Christianity, they gently
accomodate neo-classical, mediavel music and elements of pop and rock
music. The melodic voice of Damiano Mercuri and the numerous guest vocalists
that lead the acoustic based tracks are surrounded by a wide musical palette.
'La Danza Del Colibri and 'Derse Uzala' are songs of melodic neo-folk,
with the former accompanied by violin and the latter bolstered by striking
percussion and steeped in Italian based samples. The gentle plaintive
strum and soft keyboard accompaniment of 'Noi Non Dimentichiamo' veers
close to Death In June. It's the exception to the rule but the hauntingly
catchy vocal melody sends the song heavenwards. A more mediaeval presence
is felt on 'Perso Nel Cuore Di Una Foresta Nella Nera Germania' where
mandolin and guitar entwine before being drenched in bombastic percussion
and crashing cymbals. 'Angel Always Stands For Us' swathes the guitar
in a beautiful violin score to create ringing acoustic folk. Yet much
of Rituale Romanum's variation springs from the guest contributors. Holger
and Susanne of Belborn feature on 'Famiglia!' their German voices intermingling
over intricate guitar patterns. Josef K. of Von Thronstahl adds a sullen
David Bowie vocal to 'Soldato Cristiano' taking the rising acoustic guitar
and power chords into pop-rock realms. It's later reprised on the final
track taking the "Christian soldier" theme into a dark romantic
atmosphere lead by Josef K., surrounded by heavyset massed vocals and
offset by the gentle female vocal of Chiara.
Rituale Romanum is heavily influenced by Cold Spring labelmates
Von Thronstahl. Aside from Josef K.'s guest vocals, he's credited with
artistic supervision and there's even a Rose Rovine e Amanti rendition
of Von Thronstahl's 'Adorazione Dell'Europa' which goes from cheering
hordes through strident acoustic strum with contrasting harsh and melodic
vocals that quite unexpectedly lunges into a ravaging piece of rock music.
Rituale Romanum is an unusual release for Cold Spring, a label
more associated with dark ambient but with it striking black, white and
red visuals and representations of the Archangel Michael it's designed
to attract the attention of Von Thronstahl fanatics. Yet even without
this association the classy arrangements of Rose Rovine e Amanti would
ensure it a successful entry into the neo-folk genre. It will be interesting
to see how they develop from here but Ritual Romanum is an effective blend
of dark romantic songs. |
From Black
Magazin: (by KMF)
Das artwork verweist hier sehr deutlich auf
die Thematik des Albums, denn nicht nur auf dem Cover, sondern auch auf
der Rückseite der CD und in dem kleinen inlay findet man historische
Abbildungen christlicher Krieger bzw. Ritter, die siegreich gegen den
Teufel bzw. Drachen kämpfen. Die Texte im inlay sind vorwiegend auf
Italienisch und Französisch und sollten daher von jemand anderem
als mir übersetzt werden. Musikalisch wird das "Rituale Romanum"
mit einem Intro eröffnet, bei dem sich ein chorales 'Summen' über
Schlagzeug und neofolk-typische Akustikgitarren legt und mit Anklang an
"Leper Lord" eine zwar traurige, keineswegs aber spannungslose
Stimmung aufbaut. Durch einen gewissen Hall in der Stimme und gewiss nicht
zuletzt, weil D. Mercuri italienisch singt, verbreiten viele der Lieder
eine sakrale Atmosphäre. Dies hält Rose Rovine E Amanti jedoch
nicht davon ab, bereits am Ende des zweiten Stücks mit einem kräftigeren
Rhythmus zu arbeiten. Bei "Soldato Christiano", bei dem übrigens
teilweise auch englisch von "Christian Soldier" gesungen wird,
schwillt der Rhythmus an manchen Passagen zu einem ausgewachsenen Marschrhythmus
an, was ja auch zu dem bereits visuell angedeuteten Kampf Gut gegen Böse
passt. Die "heavenly voice" von Pamela Gargiuto sorgt währenddessen
dafür, dass auch das klagende Element kriegerischer Rituale nicht
völlig ausgespart wird, während Josef K. laut inlay hier ebenso
wie in dem track "Aachen" mit "inspired words" vertreten
ist. Durch schöne und gerade bei "Dersu Uzala" sehr melancholische
Melodien wird der stellenweise martialische Grundton des Albums etwas
abgemildert und es ist festzustellen, dass D Mercuri wirklich gut singen
kann, während für den deutschen Gesang auf "Famiglia!"
übrigens Belborn verantwortlich ist. Mit ebenfalls deutschen Sprachsamples
eingeleitet und unterlegt bildet das fast zehn-minütige "Aachen"
den nachdenklich hymnischen Ausklang eines wohl mehr dem Gedenken der
Vergangenheit als an musikalischer Innovation interessierten, jedenfalls
aber wohlklingenden Albums. |
From ShadowPlay:
(by Scott A)
Hailing from Rome, RReA is the solo project
of Damiano Mercuri. It's essentially Neofolk with a Neo Classical touch.
The 9 tracks, (although 10 are listed) along with the imagary
of the packaging conjure up visions of Christianity, the knight of Old
and the struggle between Love and Hate.
'Intro' starts with mainly acoustic guitar, vocal harmonies, with
drumming permeating the track. This leads us into 'Perso nel cuore di
una foresta nella nera Germania' which mixes the lilting vocals acoustic
guitar, mixed with mandolins, keyboards and crashing bombastic drums to
great effect. Track 3, 'Soldato Christiano' entrances with sample backing
vocals adding well to the mix and vocals in English this time. 'La danza
del colibri' follows, with what sounds like violin, interweaving amongst
the rich mix of acoustics and drums, with an intersting change in tempo
part way in. 'Dersu Uzala' is a mainly vocal and acoustic track,with some
interesting percussion, whilst 'Noi non dimentichiamo' uses samples integrated
in amongst the sounds, with the vocals largely appearing to be in German.
'Familigia'really uses the violin well in the mix, with the
clarity of the vocals also shining through. Track 8 is listed as track
9, however, it is 'Adoration to Europa' which features Von Thronstal.
A version of this appears also on the Swarm compilation. The lyrics are
taken from Killing Joke (Adorations) and the Skids (A Day in Europa) with
improvisation, meaning there's a degree of familarity in the song. The
last track'Aachen' uses German war samples mixed with carefully picked
Acoustics, chants and English vocals again, meaning a treat for the ears.
It's well crafted and rounds the album off nicely. |
From La
Defuncion: (by Socorro)
Lo primero que supimos de Damiano Mercuri,
mentor absoluto de la banda que nos ocupa, fue la noticia de que iba a
editar un split con los maravillosos Belborn. Una vez publicado dicho
trabajo sólo quedaba ver como saldría parada la banda al
compartir CD con un proyecto ya consagrado como lo eran los germanos.
El resultado fue que si bien pudimos oír una buena banda, también
era cierto que quedaba un poco eclipsada por el buen hacer de Belborn.
Ahora sólo quedaba esperar un nuevo trabajo en solitario para comprobar
si la banda de verdad podría demostrarnos todo lo que se esperaba
de ella.
Sin duda la espera y las expectativas han valido la pena,
detalle que también ha visto un gran sello como Cold Spring, al
igual que los ilustres colaboradores que se incluyen en el trabajo. El
primer detalle que resalta tras una primera escucha general es la mejora
en el uso de la percusión, convirtiéndose en un instrumento
principal, detalle imprescindible par conseguir que el álbum alcance
un espíritu marcial y sobrio. La sensación que trasmitía
la banda de ser un grupo que practicaba un folk muy tradicionalista y
carente de fuerza, se ha evaporado totalmente, en este Rituale Romanum
podemos oír canciones llenas de fuerza y honor, junto con otras
cercanas al dark folk tradicional de guitarra acústica y sobre
todo otras llenas de sentimiento que transmiten sensaciones que sólo
en escasas ocasiones consigue transmitir un tema. Otro detalle a tener
en cuenta, más que nada como una curiosidad, es el hecho de que
aunque la banda sea italiana, un país lleno de tradiciones y de
historia, la mayoría del disco, posee una influencia germana, aunque
quizás es un detalle que le da mayor misticismo al trabajo.
Entre las ilustres colaboraciones, sigue manteniendo cerca
de los componentes de Belborn, que ponen la voz en el corte 7, y sobre
todo a Josef K (Von Thronstahl), personaje que aporta mucho más,
incluso componiendo la música para algún tema.
Para destacar temas lo tenemos muy fácil ya que el
álbum no es muy homogéneo, y ese detalle hace que podamos
elegir los que más se acerquen a nuestros gustos. Sin dudarlo ni
un segundo yo elegiría el segundo corte, “Soldato Cristiano”,
un tema donde tras un empezar con instrumentos de cuerda, se aprecia perfectamente
el detalle del buen uso de la percusión , de lo mejor del álbum,
pero sobre todos los temas destacaría el noveno, “Adorazione
dell’Europa”, un tema de esos que están tocados por
las musas, un tema que bastaría para amar a la banda, lleno de
romanticismo y de oscuridad, a la vez que triste y poderoso, todo un lujo.
Resumiendo podemos afirmar que tenemos una nueva banda que
se ha sumado a ese grupo de nuevas bandas de dark-neo folk, pero sin duda
ha entrado por la puerta grande. |
From Lunar
Hypnosis: (by Ginnie Moon)
If you're a fan of "Rose clouds Of
Holocaust"-era Death In June, take note. This release employs the
very best of what so many of us loved about DIJ and blends it with the
glorious inheritance of passionate attention to detail and the spiritual/historical
protocol set by acts such as Belborn and Allerseelen. Add in the technical
prowess of von Thronstahl or Blood Axis and even a bit of the gothic tradition
along the lines of Fields of the Nephilim, and you've got an album to
get goose bumps over.
I become more amazed with repeated listens. Damiano Mercuri has
just raised the "Neofolk" bar of excellence almost impossibly
high. I can scarcely conceive how any work could be more singularly beautiful,
elegant, and erudite as this. (10/10) |
From Obskure:
(by Emmanuël)
Projet solo du Romain et chrétien
Damiano Mercuri, Rose Rovine e Amanti est un projet néo-folk assez
enchanteur, au moins sur la forme.
A la source de l’écriture se retrouvent quelques idées
et principes synthétisés par Mercuri lui-même en quelques
"pour" (le Christianisme, l’honneur, la véritable
et profonde amitié, l’art et la beauté) et quelques
"contres" (les lâches, la trahison, l'Europe fausse, ou
la dictature de relativisme). Autant dire qu’on pénètre
ici les terres d’une ferveur vis-à-vis des formes absolues
transcendant croyances et comportements. S’y retrouvera qui voudra,
bien entendu.
Concentrant ses forces sur les développements de caractère
principalement acoustiques, sur lesquels viennent se greffer des arrangements
de type néoclassique, Rose Rovine e Amanti ne laisse toutefois
pas ces derniers envahir le propos. Par le passé, le jeu des couleurs
a déjà connu quelques jets le long de deux CD-R et un MCD
avant de voir venir une première publication officielle. Les pastels
acoustiques et mélancoliques égrenés par cette formation
combinent à une forme très classique de folk une touche
électronique, laquelle traverse avec délicatesse des chansons
noires et empreintes parfois de psychédélisme.
Le meilleur exemple de ce type de rituel se nomme "Angel always
stands for us (don't be afraid !)", huitième titre sur lequel
Mercuri adopte une posture vocale remémorant clairement les meilleurs
moments de Valor Kand [Christian Death] au chant… soit le Valor
des années 1980, bien entendu. Ce huitième titre, comme
"La danza del colibrì (Power is blood)" (d’après
Macbeth), se voit parsemé des violons plaintifs de Pamela Gargiuto.
La voix de cette dernière apparaît aussi sur le très
martial "Soldato Cristiano (Let us pray in Silence)", instant
pendant lequel réaparaît le fantôme de Kand.
In fine, "Rituale Romanum" jaillit tel un essai
dépassant le strict cadre "solo". Pétri de collaborations
diverses (Josef K. pour le texte ; Chiara ou Belborn [collaborateur de
Rose Rovine e Amanti pour l’album "Grain"] pour les voix
; et Lucio Leone pour la percussion), il expose un style plein d’esprit
et de spiritualité. Posé, d’accord, mais traversé
de soubresauts tirant vers le genre industriel.
Les amateurs de musiques noires et de percussions posées
devraient trouver là bon compte, en attendant de voir ces formes
s’affermir vers – on l’espère – une hybridation
plus poussée. Sur les idées à l'origine de la chose,
après, eh bien chacun fera le choix d'en retirer substance ou de
laisser vagabonder son âme vers ce qui lui semble meilleure substance. |
From Necroweb:
(by Deathbringer)
Mit seinem Soloprojekt Rose Rovine E Amanti
kann und will Damiano Mercuri seine italienische Herkunft nicht verstecken,
und so bekommt der Hörer auf "Rituale Romanum" hauptsächlich
italienischen Neo-Folk zu hören. Ausgestattet mit viel Gefühl
in Melodie und Gesang bewegen sich große Teile des Albums auf einem
qualitativ hohem Niveau, durch den gelegentlichen Einsatz von Violine
oder Piano neben der obligatorischen Akustikgitarre schleicht sich ein
kleiner neoklassischer Touch ein. Doch auch beim Martial Industrial hat
man sich etwas abgeschaut, wie z.B. "Soldato Cristiano" beweist,
doch auch eine für Neo-Folk untypische E-Gitarre ist in diesem Song
im Hintergrund zu hören. Auch wenn der Gesang stellenweise dem Ein
oder Anderen etwas zu 'weinerlich' erscheinen mag, einen melodiösen
Ohrwurmcharakter kann man ihm nicht absprechen.
Doch auch "Rituale Romanum" hat seine Schattenseiten,
so z.B. den Song "Famiglia!", der durch die immer wieder wiederholte
Textpassage aus deutschen Wörtern doch einen sehr komischen Charakter
erhält. Auch das Von Thronstahl Cover "Adorazione Dell'Europa"
mag im Vergleich mit dem stimmigen Original nicht so recht überzeugen,
und das obwohl Josef K (Von Thronstahl) als Artistical Supervisor an "Rituale
Romanum" beteiligt war.
Eine gewisse Vorliebe für die italienische Sprache sollte
man schon mitbringen um Rose Rovine E Amanti vollends genießen zu
können, nichtsdestoweniger ist "Rituale Romanum" auch für
Neo-Folk Lieberhaber zu empfehlen. |
From Musik
Terrorerlag: (by TK)
Nach diversen Compilationbeiträgen,
2 MCDs, einer Split etc. nun endlich das Full Length Debüt des hoffnungsvollen
italienischen Neofolk-Projekts ROSE ROVINE E AMANTI. Praktischerweise
auch gleich vom Presswerk durch einen bösen Fehler „geadelt“:
Aus den 10 Original Tracks wurden 9, da man 4 und 5 flugs zusammen packte,
was aber dem Hörgenuss nicht sonderlich schadet. Mastermind hinter
den „Rosen“ ist bekanntermaßen Damiano Mercuri, der
hier von einem gewissen Josef K. als Supervisor unterstützt wurde,
nun ja, jeder stürzt sich ideologisch so gut es geht ins Unglück.
Bei dem Cold Spring Label überrascht die Zusammenarbeit nicht wirklich,
da hier auch VON THRONSTAHL veröffentlicht.
So darf der umstrittene Deutsche Kreative dann gleich 2 mal
die Stimme erheben, bei „Soldato Cristiano“, einem Pathos
getränkten Stück mit hoppelndem Stampf Rhythmus und dem bereits
vom Neoform Sampler bekannten Titel „Aachen“, komplett mit
Kinski Sample. Desweiteren covert Damiano auch noch ein älteres THRONSTAHL-Lied:
Aus „Adoration to Europa“ (beispielsweise auf der „Bellum
Sacrum Bellum!?“) wurde hier „Adorazione dell'Europa”.
Eine weitere Zusammenarbeit stellt das etwas merkwürdige „Famiglia!“
dar, welches sich schon auf der eingangs erwähnten Split mit BELBORN
befand, die dann auch ihren typisch unbedarften Sprechgesang beisteuern.
Dabei braucht sich RREA gar nicht mit fremden Federn zu schmücken,
die meisten in reiner Eigenarbeit erstellten Kompositionen sind viel schöner
ausgefallen. Da wäre beispielsweise das wunderbare „La danza
del colibrì (Power is blood)“ nach Shakespeare zu nennen,
wo eine Violine zum erhabenen Klangbild beiträgt. Ebenso „Perso
nel cuore“, welches von einer Mischung aus flehentlichem Gesang
und neapolitanisch angehauchten Akustikgitarren profitiert... weniger
allerdings von dem sehr künstlich scheppernden Schlagzeug. Die Stimme
ist über die gesamte Laufzeit über sowieso das große Plus
des Tonträgers. Prägnant, leidenschaftlich, variabel werden
hier vielerlei Emotionen freigesetzt.
Lyrisch werden vom Katholizismus über die Natur bis hin
zum Römischen Reich einige interessante Themen angeschnitten, die
Ode an den ermordeten niederländischen Islamkritiker Theo Van Gogh
mag man nun ohne Hintergrundwissen eher nicht interpretieren. ROSE ROVINE
bedienen sich hier einiger Töpfe, inhaltlich wie musikalisch, wo
die Bandbreite von Neofolk über Neoklassik bis hin zu leichten Military
und sogar Psychedelik-Klängen reicht. Hochklassig ist das oft, unterhaltsam
fast immer. Da kann auch das Presswerk nicht gegen an... |
From Absolute
Zero Media: (by Clint Listing)
I have not a clue who this project is all
I know that it is really impressing me. If you like projects like Blood
Axis, Of the Wand and the Moon this is something to take a strong listening
. Very Acoustic based neo folk with an neoclassic backdrop. I really like
the tasteful way the guitars are being used. Oh this has a very Italian
vocals style , oh look there from Italy. The mandolin is a very nice touch
as well. This with each track sounds a bit more like Novy Sevt another
band I enjoy greatly. Its was a bit of shock I didn't think Cold Spring
went for this style of artist. I thought this was more Old Europa Cafe,
Tesco and Punch records. I will say one thing I very glad to have it and
thank you Justin for letting the work know of this really outstanding
release. |
From Obliveon:
(by MK)
Das “Rituale Romanum” bezeichnet
die Grundlage des Vatikans zur Durchführung eines Exorzismus. Vor
diesem Hintergrund wirkt das erste vollständige Album des Römers
Damiano Mercuris mit Rose Rovine e Amanti wie die musikalische Anleitung
dazu, denn die Mischung aus Neofolk, sakralen Elementen und der Integration
von einigen wenigen Samples mit religiösem Bezug zeigt die Verbindung
zwischen der Musik und den zu exorzierenden Inhalten der heutigen Gesellschaft
klar auf, bei der eine Rückbesinnung auf die kulturellen Werte Europas
und seiner Staaten hier musikalisches Programm ist. Musikalisch bedarf
„Rituale Romanum“ dabei ein wenig Zeit der Gewöhnung,
auch wenn Von Thronstahl-Mastermind Josef Klumb seine produktionstechnischen
Finger mit im Spiel hatte, teilweise Gesang beisteuerte und sich mit „Adorazione
dell’Europa“ auch eine Von Thronstahl Coverversion auf dem
Album wiederfindet. Vor allem der klagende Gesang Damianos ist etwas gewöhnungsbedürftig,
passt zu der musikalisch sehr aussergewöhnlichen Mischung aber ausgesprochen
gut. Auch der Gastauftritt von Belborn bei „Famiglia“ passt
gut in das Gesamtbild des Albums, aus dem vor allem „Aachen“
aufgrund des Samples von Klaus Kinski und der Rezitation des „Vater
unser“ von Josef Klumb herausragt. Wer seine Portion Neofolk etwas
variantenreicher mag, dem sei dieses „Rituale Romanum“ wirklich
wärmstens ans Herz gelegt. |
From Twilight-Zone:
(by Michele Viali)
Quando ascoltai per la prima volta il mini
“Noi vi odiamo” di RR&A mi convinsi subito che questo
autore aveva ottime possibilità di essere apprezzato da un ampio
pubblico, gli mancava solo un’etichetta che gli desse la giusta
visibilità…dopo due anni è finalmente arrivata quella
meritata considerazione da parte di una label importante e di autori quali
Belborn e Von Thronstahl che, partecipando all’album, di fatto tengono
a battesimo questo progetto.
Sebbene lo stile di riferimento di RR&A sia quel neo-folk
ormai inflazionato da tante produzioni inutili e tutte uguali, il nostro
Damiano Mercuri sa allontanarsi dai facili cliché del genere proponendosi
con una voce eccellente che rimanda alla tradizione cantautoriale italica
e non mancano venature rock che rendono sanguigne e vive tracce come la
bellissima Soldato cristiano, oltre ad una ispirato gusto per la melodia
che fa capolino in tutti i brani, conquistando l’ascoltatore.
Il brillante momento che sta vivendo la scena oscura e sperimentale
di casa nostra, grazie all’apporto di autori come Spiritual Front,
Ianva, Der Feuerkreiner e moltissimi altri, viene confermata dal suadente
decadentismo epico di RR&A, per i quali spero che al più presto
sia riconosciuto il giusto merito anche in patria, non dubitate di chi
ha le vostre stesse radici: in |
From Terrorizer:
(by Will Stone)
A heady blend of striking artwork and neo-folk
pathos equals a solid magnum opus of art-folk from Italian solo artist,
Damiano Mercuri. The name, literally translating to 'Roses, Ruins And
Lovers', is a comment on the loss of spirituality and the death of love.
Having a voice like a forlorn Bowie trapped inside a coffin, with echoes
of Patrick O'Kill, Mercuri's haunting Italian accent courses through each
track, lending them colour. And that's not to mention the guest vocals
from Josef K on the brooding masterpieces 'Soldato Cristiano (Let Us Pray
In Silence)' and closer 'Aachen (Holy Roman Imperium)', which do much
for the darkly romantic atmospheres offset by gentle acoustic guitar.
The mandolin also creeps in sporadically, lending to the medieval imagery
of its Christian-inspired artwork. Also great is the collaboration with
Belborn on 'Famiglia' - a mist swathed splendour of melody and depression.
One of the best releases to come from Cold Spring this year. (9/10) |
From Aural
Pressure: (by NYR)
Rose Rovine e Amanti is the handiwork of
Italian musician Damiano Mercuri, who presents this first full length
album after a raft of CDRs and a short CD-EP. With a raft of guest appearances,
"Rituale Romanum" is a Roman coin dug from the loam of Italy
scribed with Imperial and stoic grandeur, then burnished and proffered
back to world as an alliance of past and present.
Damiano’s adroitness is keenly expressed in his use
of guitars and mandolin, yet these soundboards do not limit the full breadth
of Rose Rovine e Amanti, which meshes ancient instrumentation with modern
industrialism. After the laconic ‘Intro’ there emerges the
true craftsmanship, gentle guitar arpeggiates while the rapid tremolo
of mandolin purls to the vocals of Damiano, whose tortured paeans encourage
skyward obeisance, his vocals furling into ululations before a buffeting
barrage of orchestral percussion broadens simple folk song in hermetic
armour. Vocals hailing Christianity might well immediately put off the
listener, yet this not some exhortation to an Abrahamic god nor mere histrionics,
rather it is a reverence – given Rose Rovine e Amanti’s blend
of the modern with the Roman Empire, whose official religion became Christian.
The music encourages noble bearing with its marshaled percussion set flush
to the curves and cusps of song, violins dance with guitar to the lulls
where Damiano’s vibrato and plaintive voice breaths, this is no
patchwork of beat and guitar, the songs surge and seek certain respite,
unfurl and accrete charisma.
The album comes presented in a simple clear jewel-case, with
full colour artwork throughout. Strong is the delineation of archaic etching
and symbols of armoured knights graced with the glory of right over the
forces of evil, a conquest of personal demons as much as a literal presentation.
Interior photos on disc and tray inlay of Norman knights frozen in stone
and peaceful rest, the true goal. Liner notes are sparse but detail the
guest musicians and phrases of Italian verse. |
From Vital
Weekly: (by NMP)
A time travel...! Italian composer Damiano
Mercuri has since 2002 been active under the project name "Rose Rovince
E Amanti". Having previously released two CDR's and a CD-Ep this
album titled "Rituale Romanum" is the first proper full-length
release of Rose Rovince E Amanti. With the help of a great musical talent
and with the appearance of guest musicians counting Pamela Gargiuto and
Josef K just to name a few, Damiano Mercuri brings the listener from the
present day of electronic music expressions back into the ancient days
of Roman empire with a superb blend of neo-folk and neo-classical added
a few doses of industrial and drone-based rock. There is a quite pleasant
atmosphere of tranquillity throughout the ten compositions meanwhile each
track contains its very own dramatic style of middle age expression. Dominating
elements in the music is the soothing acoustic guitar strums and the ever-grand
vocals of Damiano Mercuri reminiscent of Brendan Perry (Dead Can Dance).
But the real strength of "Rituale romanum" is its wide range
of instruments being utilized throughout the 50+ minutes running time,
counting mandolins, violins and beautiful song voices from among others
Pamela Garguinto. A radical change of expression comes in the second last
track titled "Adorazione dell'Europa" as the gentle tune suddenly
gets interrupted by a moment of wrath. This little intervention comes
as an unexpected and a very effective surprise since the previous tracks
have been almost exclusively kept in the downbeat moody and tranquilizing
pace. Fortunately the listener are safely returned back to the gentle
sound spheres with the beautiful album closer, the ten minute long "Aachen
(Holy Roman Imperium)" featuring some heavenly French vocals and
some spoken words by Josef K - an otherworldly ending to a magnificent
album of ancient beauty. |
From Alternativmusik:
(by Marius)
Bei Rose Rovine e Amanti handelt es sich
um das Projekt des in Rom ansässigen Damiano Mercuri, dem nach bisher
zwei veröffentlichten CD-Rs und einer Single vor allem vor einer
Weile durch die Kollaboration mit den inzwischen aufgelösten Belborn
auf Grain etwas mehr Aufmerksamkeit zuteil wurde. Auf dem nun erschienenen
ersten offiziellen Vollzeittonträger präsentiert sich die Gruppe
um Damiano Mercuri als eine recht ausgereifte Formation im musikalischen
Spannungsfeld zwischen Neofolk und Neoklassik.
Eröffnet wird die Scheibe von einem Spannung aufbauenden Intro
mit gezupften Gitarrenharmonien und beschwörendem Gesang im Chorstil.
Die sich langsam aufbauende Atmosphäre wird auch im Folgetitel Perso
nel cuore di una foreste nella nera Germania (nature is the profume of
grace) fortgeführt, der sich langsam aufbaut und ruhigen, italienischen
Neofolk liefert und dabei die Spannung weiterhin steigert, bis nach etwa
zwei Dritteln mit einem Gongschlag die Trommeln einsetzen und dem Tonträger
einen treibenderen Charakter verleihen. Diese beiden Aspekte charakterisieren
gut die beiden Pole, zwischen denen sich Rituale Romanum bewegt: Die ruhigeren,
atmosphärischen Stücke auf der einen und die druckvolleren,
treibenden Stücke auf der anderen Seite.
Ein Stück wie Dersu Uzala (Acqua, Fuoco, Vento) (A Complex
Fashion For A Simple Man) repräsentiert gut die zuletzt genannte
Art von Stücken. Druckvoll geschlagene Trommeln, eine Akkorde spielende
Akustikgitarre und dazu die vielseitige Stimme von Damiano Mercuri. Treibend
und dabei eingängig gespielt mit einem leichten Hauch von Dramatik
erinnert das Stück teils an jene Bands, die den Neofolk mit als erstes
für sich entdeckten.
Stücke wie Angels Always Stand For Us
(Don’t Be Afraid!) hingegen zeigen die ruhige Seite von Rose Rovine
e Amanti auf. Die Gitarre ist hier eingangs gezupft, die Trommeln wurden
weggelassen und vor allem die Violine sorgt für Schönheit in
diesem Stück. Die traurige Schönheit des Stückes steigert
sich gegen Ende weiter, wenn die Gitarre beginnt, Akkorde zu spielen.
Eine Zwischenstellung nimmt der Titel Soldato Cristiano (let us
pray in silence) ein, der ruhigere Strophen mit einem treibenden Chorus
vereint und im Gegensatz zu vielen anderen Stücken der Scheibe phasenweise
sogar relativ optimistisch und stellenweise hymnisch wirkt. Das Stück
ist übrigens unter Mitwirkung eines gewissen Josef K. entstanden,
der nicht den einzigen Gast auf Rituale Romanum darstellt: Im Stück
Famiglia! darf man die beispielsweise Stimmen der bereits eingangs erwähnten
Belborn vernehmen.
Auch wenn in einigen Stücken gelegentlich etwas zuviel
Pathos mitschwingt, ist der italienischen Gruppierung ein durchaus gelungenes
offizielles Albumdebüt geglückt, das auf weitere zukünftige
Taten hoffen lässt. Ärgerlich ist lediglich, dass zwischen dem
vierten und dem fünften Stück die Trennung fehlt, so dass diese
beiden Stücke auf der CD als ein Titel zu finden sind, wodurch die
Titelangaben auf der Rückseite des Albums falsch werden. Aber aus
Fehlern lernt man schließlich, die Band selber kann nichts dafür
und den weitestgehend gelungenen Klängen des Albums tut dies keinen
Abbruch!
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From Synthesis:
(by Troy Southgate)
IN 2002 the talented Italian musician, Damiano
Mercuri, unveiled Rose Rovine e Amanti's self-titled collection of beautiful
folk songs, which unveiled such atmospheric and laid-back gems as 'Il
Mondo Non Era Così Stanco', perched uneasily beside the comparatively
harsher strains of 'Marea'. His present release, 'Rituale Romanum', which
was suitably conceived among the seven great hills of Rome itself, has
found its way into the capable hands of the Cold Spring team.
The cover betrays a strongly Christian theme,
where a defiant St. Michael the Archangel - sword in hand and clad in
armour - stands astride a demonic and recently-defeated adversary. The
album is dedicated to the German town of Aachen, which, as I know from
personal experience, is a beautiful place steeped in history and filled
today with dozens of little cafes and antique shops, but perhaps slightly
more famous for being the old imperial seat of the Holy Roman Empire and
most notably the Emperor Charlemagne, whose sacred bones have been interred
in the Cathedral since the year 814.
With their catchy repetition and sustained
bouts of monotony, the rhythmic vocals that accompany the gentle guitar-playing
of the 'Intro' remind me a little of Actus. But with 'Perso nel Cuore
di una Foresta nella Germania (Nature is the Profane of Grace)' on the
other hand, Mercuri's sweet acoustics and solemn vocals are joined by
a traditionally Italian-sounding mandolin. Imagine a crooning 1960s ballad
- Scott Walker style - sung at a Mafia garden party. The percussion is
very dramatic on this song, with the crashing cymbals and rattling tambourines
providing a fantastic backdrop. 'Soldato Cristiano (Let Us Pray in Silence)'
features vocalist Josef K from label mates Von Thronstahl. The strange
accent used here gives the track a very macabre and timeless feel, in
places both very soulful and melancholy. In fact it works beautifully
and offers a lyrical nod towards the eternal principles of Christian martyrdom
and sainthood. Tracks 4 and 5 were unfortunately not indexed correctly
on the CD, so there is no break between the songs. The first half of this
accidental fusion, 'La Danza del Colibri (Power is Blood)', is accompanied
by Pamela Gargiuto's wonderful violin, with Mercuri's haunting vocals
drifting gloriously across the musical landscape like a curtain being
drawn across your very soul. But as the final strains of the violin fade
away, however, the start of 'Dersu Uzala (Acqua, Fuoco, Vento)' does not
appear as suddenly as you might expect. In fact, under the circumstances
the transition is pretty smooth. This song, no doubt, is a reference to
Akira Kurosawa‚s 1975 film of the same name, in which a Russian
officer - played by Maksim Munzuk - befriends an Asiatic hunter. This
time the opening Italian voice sample is followed by a reversion to a
more traditional Neofolk sound, although Mercuri's vocals retain the distinct
quality which, thus far, have prevailed throughout the album. Again, the
percussion is very original, with the unusual drum samples and yelling
voices towards the end creating a powerful aura. The strumming is much
slower on 'Noi non Dimentichiamo (2 Novembre 2004)' and when the backing
chimes are added it sounds rather similar to Death In June, but thankfully
without becoming completely identical like some acts I could mention.
Dedicated to the murdered Dutch film director, Theo Van Gogh, it‚s
a jolly little tune with a rousing 'li-li, li-li' chorus that is immensely
hard to shift from your mind. Moving on, I'm pleased to say that 'Famiglia!'
features a contribition from, Belborn, one of my own favourite Neofolk
groups. Once again, Mercuri adds several layers of guitar, but this is
joined by the familiar German vocals of Holger F and Suzanne H, each of
whom make a very welcome appearance on the album. 'Angel Always Stands
For Us (Don't Be Afraid!)' sees the return of Pamela Gargiuto's violin,
moving beautifully across yet further swathes of passionate vocals which
on this occasion are sung in English. Her playing is superb and reminds
me very much of Matt Howden and Sieben. Mercuri's 'Adorazione dell'Europa
(Where is Europa?)', which is a great cover of the Von Thronstahl song
from their 2003 album, 'Bellum, Sacrum Bellum!?', opens with cheering
crowds and a pounding acoustic guitar before moving up a level and threatening
to become an enduring and animated Rock anthem. Our final track, 'Aachen
(Holy Roman Imperium)', brings us full circle and again utilises the vocal
talents of Josef K. By this time, of course, it is quite clear to see
that the association between the two groups is more than coincidental.
In fact it‚s verging on the incestuous. A partial reprise of the
earlier 'Soldato Cristiano', this perfect ten-minute finale is a whirlwind
of German and Italian demagoguery mixed with a dash of French femininity,
some deep harmonies and the desire for longevity, notoriety and historical
perpetuity. This amazing track represents many cultural and linguistic
aspects of the European mindset and is a timeless reminder that our destiny
is One. A superb album.
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