L'UOMO INFINITO

Lamanaif is a chilling slab of exotic prog-metal that started out as a theatre project recording by university students, based on that perennial source of artistic inspiration, the human condition! Firstly, it is apparent that, as a soundtrack, this is music for both the eyes and the ears! It's even packaged like a bigger jewel case DVD . The metal music obviously serves as the propellant for the story, as the lead vocals take a large part of the arrangement which otherwise is a guitar centric approach with solid rhythmic foundation. Lead vocalist Esteban Vidoz sings fast and hard when needed, with abilities to be light when dictated to by the crew. On occasion, he throws in a few growlier moments (on "In Stabile"), all in Italian. Guitarist Simone Bianco is the main melodic focus, with classic riffing as the main weapon, only occasionally venturing into soloing. Bassist Matteo Florian provides some harder edged low end tremors, aided by some effect pedals while drummer Simone Sossai pounds fiercely.The pieces can thus vary from spooky to brash, moody to punky, but all in all the tracks flow with a certain similitude, invariably as a part of a greater whole. Admittedly, this kind of prog- metal or 'Nu metal' as some like to call it, is not entirely my thing, as it lacks those structured atmospherics and solo platforms that I happen to enjoy.

I am pretty sure that as an audio-visual presentation, this wold have a much greater impact. But as a purely musical offering, there is still some highly interesting details that creep into earshot on a regular basis, erasing some of the steam-roller like monolithics. Unsurprisingly, the two longer pieces the 7 minute "Girotondo" and the 6 minute "L'Amami" are the core sound beacons, covering various levels of discovery. The title track also goes through a series of emotions that literally drip with passion. The super cool bass line introduces the heavy pulse of "Girotondo", a terrific workout with tons of squealing effects, hushed manic vocals and angrier voices later on. Vedoz sure can spit out a torrent of carefully expressed lyrics, his backing vocals veering towards genius, except when he screams. Bianco applies a few sustained lead guitar licks, which comes across as both refreshing and moody, amid all the pandemonium. This is a fabulous track!

"Insonne" is cloudy dreamy, as if some soporific Italian take on Pink Floyd had taken hold, though in a heavier mode, with some modulated lead vocals, effect-laden at times. This is probably closer to being a somewhat standard ballad, with a nice axe solo to boot, drenched in a boat-load of atmospherics and a mostly passive beat. The power does kick into bloom, quite a successful ditty.

The afore-mentioned "L'Amami" is another oddball highlight, a more traditional heavy rock piece that chooses to exude almost unbearable angst, courtesy of the outright insane vocals, dripping in measured folly, a theatrical reading and as such, another tour de force. When Vedoz starts screeching, I sort of feel creeped-out, as I find such premises kind of puerile and totally unnecessary. But it's part of the dynamics, so I get it!

Interesting addition, certainly quite original in terms of sound and context but a more symphonic style would have elevated this to a higher level of acceptance, in my humble opinion. In all fairness, this needs multiple visits to really sink in, as the first impression is bullying.

3.5 eternal men