bio - INTERVIEWS
|
INCHIUVATU had formed on the holy Friday 1993, thanks to AGGHIASTRU, the creator of all artistic expression of the band. D I S C O G R A P H Y
1. LUSTRU (11/07/1975)
INCHIUVATU - ‘Viogna’ (2000) - INCH 002
1. ESTA (Welcome In The Theatre Of Shame) The Love Denied And The Pregnant Sin 4. CHI SCURU CHI C’E’ (Dark Sensuality - Six Sex Six) The False Sermon Of Joy 9. STONATA MUSICA
1. VENI INCHIUVATU - ‘VIA LUCIS’ (EP 2017)
1. TRIONFU
INCHIUVATU - ‘VIA MATRIS’ (EP 2014)
1. IN UTERO
INCHIUVATU - ‘INRI’ (EP 2013)
1. PONTIUS
1. CHIOVA
1. LA MOTTI
1. LA CRUCI SI POTTA 'NCODDU
1. traccia 01
1. LA CRUCI SI POTTA 'NCODDU
1. ADDIMURA |
INTERVIEWS
the nymphs of ADDRAUNARA
To hear Agghiastru the music must always evolve and never repeat itself, otherwise it would be a contradiction to produce new material that is not new. But while some projects of the Mediterranean Scene respect this evolutionary attitude
there are others that seem to confirm just the opposite. This is the case of the Maleficu Santificatu , Inquietu , Lava , and therefore also the Addraunara . We talk about it with the author Anthony 'Nadur' .
What you say is true, but there is also to say that not all of us have the gift of the supreme and be creative in continuous flow. This is one of the reasons why it is sometimes impossible to work with Agghiastru. He is never happy with what you do and, when maybe we get close to him he always wants to see something else a second after closing a song. Some projects, those mentioned by you for example, we have imposed to produce them with the stencil, keeping as much as possible the initial characteristics. My friends expect that stuff there, and not a total and continuous evolution that would end up distorting the project at its roots. Take the case of Inquietu's latest work, a beautiful step back that brings them back to the levels of South's Torment , and all happy.
I already hear Agghiastru arguing, but I understand your point of view. The truth is that there is a hard core that follows the Scene of the beginning and that has understood well how things are. There is space for continuous evolution in some projects, and the reassuring way of playing and composing in others. Let's start with explaining the concept behind Lampezia & Fetusa . Who are the protagonists?
In the Addraunara project I have always highlighted the local witchcraft side. We are talking about the south-western coast of my island. If first the protagonists were Nael and Izael , now I have turned to Greek mythology calling into question the daughters of the sun god Elio and Neera. They are nymphs who had to watch the herd of the father god, but the crafty Odysseus, landing in Trinacria, thinks well of stealing the mighty beasts. From there all a sort of story that involves revenge, humiliation, deceit and glory. Very dark and combative.
The EP opens with a passage marked by a clear epic intent, Fetusa, also present in the past, but here taken to higher levels. And there is also a guest.
While remaining in the black epic context, I wanted this work to sound sweet as a wind but at the same time to become a storm. Therefore, more than the speed of the battery, I favored the milder rhythms. Even the melody has reached a beautiful point of arrival, but this is also due to the insights and keyboards of Agghiastru, let's say the truth. The guest you were referring to is Pier Marzano who gives the song a beautiful solo in the final. Really got it right. I was not present at the time of recording for reasons of geographical distance, but when I heard it I changed my mind about the important presence of the solo guitar in the genre. The problem, if anything, is that I don't have the technical ability of that level. Pier ( Koza Noztra ) is a very skilled guitarist with an extraordinary taste.
The second track Helios Scuru starts, as usual, with a beautiful epic triplet, but it is in the final that a really interesting surprise arrives.
You're referring to the arpeggiated ending. I know, it is so much La Caruta di Dei Dei, but now the direction is that. We say that in addition to epicity, in the Addraunara project, coming on a prog contamination. And this is also due to Agghiastru.
Probably this Lampezia and Fetusa is the work of Addraunara closer, by sound, to La Caruta di li Dei. What is wanted or random? And when will there be space to hear a new work from the Mediterranean project Act I ?
The fact that metal is such complex and varied music means that riffs, melodies, rhythms are not infinite. In the end we say that our way of playing and understanding music begins to be extremely characteristic and perhaps repetitive. Certainly for the Addraunara project this is an evolution but it is also a point of arrival. I don't think I will experiment any more, which is different for La Caruta, which in the next work will go much further than you know until now.
So is there a musical future for La Caruta, after the excellent Ursus ?
There are tracks. Agghiastru has a nice archive with at least another 20 years of Mediterranean Scene music, but when we do something, I really can't tell you. Certainly we will make sure to propose an official job (not digital EP or cd-r) and maybe even a live promotion. Yes, you got it right, live. Because in Agghiastru's head there is always the desire to bring all these projects live.
What you said will please a lot of people, and me too. We only hope to get to feel something before the planet earth disintegrates, given the climate changes. Another treat in Addraunara's work is represented by a bonus signed by Franco 'Astiu' Barbata.
Yes, Franco has taken up the very first song by Addraunara from the eponymous 2000 EP, Calàta . He remade guitars, vocals, but what's interesting is the slow tempo of electronic drums, just to give a different sound from the typical raw sound of the project. Otherwise what bonus would it be? It is something more experimental that we have placed there to entertain those who have been following the project for so long. A treat indeed.
marco INCH Productions staff
DISCOGRAPHY
current line up
