Sweetness And Blasphemy – 2015 – Metal Scrap

G= Necrophy>>DANIELE FERRETTO>>Necrophy
B= Necrophy>>TEO [MATTEO PICCOLO]>>Necrophy
D= II Dawn, Overrain>>STEFANO RIKET>>II Dawn, Overrain

The Italy-based band was founded in September 2012 and split up in the autumn of 2017 with members decamping to Ades Numen. The self-titled demo of 2013 and sole album shared a song. Teo had moved from drums to bass in 2016.


The ‘bloody tears’ band that hails from Italy has named its sole album thus far perfectly. It is a true mixture of ‘sweetness’ and ‘blasphemy,’ but unfortunately part of its blasphemy is directed at metal what with all the ‘sweetness’ and keyboards after heaps of synthesizers. Bands should really get it into their skulls. Keyboards, synthesizers and other instruments used by Depeche Mode, Aqua, Dummy Burger, Tears For Fears, Pet Shop Boys and Major Lazer are not part and parcel of heavy metal. Perhaps bands from these wimpy countries like Italy, Albania, Finland and other corset wearing weakdoms have an English language problem and mistook the heaviness inherent in metal with the weight of hauling a synthesizer with themselves wherever they go.
Whatever the case, the album that is irrelevantly divided into Sweetness and Blasphemy side and has growling female singer does have some merit. Mother Of Sigh has a very effectual riff, which is drowned in synthesizers naturally, while Downward has a very good one as well before its first minute mark. I have no idea what The Ghost Of The Jew is all about, but could speculate that it is about it coming to haunt the poor Palestinians out of their homes and land just like live Jews in Israel are doing. What I do know is a track like Sound Of Soul clearly demonstrates that if these ladies and gents cut out the baloney they have some metal in them to deliver. If Nero were alive and well he would be playing in Cruenta Lacrymis and burning down metal as he played. – Ali “The Metallian”


Cruenta Lacrymis