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Despite they're less known in the western countries, Closterkeller of Anja Orthodox are a true icon in their homecountry,
Poland, where they've been playing for over ten years. This "Graphite" is the english version of an already published
album in 1999, and that Anja herself considers as their best effort: then it's not casual it's been chosen as ram to
conquer the west. A conquering that is not foreseen so faraway, considered the evident ability of Closterkeller in
manipulating the suffering and darkness of gothic at their will, weaving some charming and lucid compositions like the
stone their fitting title recalls. The basilar ingredients of the polish band's music are the ones the big english bands
from Joy Division onward codified: the bass to build the bone structure of every single song with its continuous and
hypnotical beat; some obsessive rhythms; some distorted guitars sometimes, but in most cases engaged in neverending arpeggios;
a charming voice that performs some soft and sad lullabies, but also very energetic when necessary; a not overwhelming but
constant use of electronic. Manifest of Costerkeller's minimalism is "Two Days", sort of gothic ballad with several little
details, or "The Mermaid", that with its poor guitar tunes cannot help but recall Robert Smith of the Cure, even if the refrain is
more strongerly gothic rock, and in this structure very close to "Eve and Adam"; or again "Marble-Enchanted" and "Secret
Place", dark wave to the bone with their coiling riffs ŕla Fields of the Nephilim. A bigger use of effects in the very nice
"The Pearl" and in the as well charming "Athe", the former worthy "Disintegration" of the Cure and the latter closer to
the latest Theatre of Tragedy. But they don't miss some more typical gothic rock / metal pieces like the square "The Ego
Game" (practically a Doro's song in dark dress), the jumps of "The Symbol Shatterer" (that reminded me of the latest Evereve),
or the Anathema-like arpeggios of "The Piano", while it's surprising the title track for its sulfur smell and for its
severe arrangements. An album that maybe tells nothing new and a bit heavy to listen to because of its lenght, but with
a strong personality and truly not common songwriting / performing skills in the bleak european goth scene.
Fulvio Adile
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