URNA was born by the will of RM and MZ on starting months of 2004. Corrupted from the beginning by the most extreme side of black metal and dark ambient, URNA first hymn has been "Justa Funebria", from which they decided to start a personal path.
The "Mors Imperatrix Mundi" EP has brought to an original merging of macabre black metal, ritualistic ambient attitude and a strong funeral doom influence. The result is something unique, an original mix of those different origins in a multifarious beast.

Latin is the tongue of URNA's black consciousness, the esoteric and occult meaning of the lyrics and vocals are further amplified by the tremendous majesty of their sacral cult of death, like a dark sermon for those who care to see beyond the veil. In 2006 URNA unleashed "Sepulcrum", a superb masterpiece of doomish obscurantism.

In 2008, after two years of silence from the blessing out of "Sepulcrum", URNA gonna gets a new dimension and with the help of Eidvlon, starts the recording sessions of "Iter Ad Lucem" their second full-length album.

The sound is now really gloomy and violent, a perfect mixture between post-metal, funeral doom and electronic madness.



Side A
1. Iter Ad Lucem - Pt. I
2. Iter Ad Lucem - Pt. II

Side B
3. K-TH-R
4. Om
5. Sefira Malkuth

Total time 42:12

Released March 2009

LP collector edition: 160 gr. gold vinyl, exclusive artwork, full color printed inner sleeve with insert. Limited to 300 copies.




Esoteric funeral doom with immense expressive strength, "Iter ad Lucem" is a tome of antiquity, where haunting guitar lines drown the listener in a new oppressive and visionary dimension.

Masterful avant-gardish attitude is manifested on the drone and mystic ambient madness, manipulated sounds and sinister sepulchral recalls, featuring guest appearance by ritual noise overlord Eidvlon.

URNA is RM (vocals) and MZ (all instruments)






  LP (I, Voidhanger, 2009)
CD (ATMF, 2009)


JUSTA FUNEBRIA (Vomitum Niger, 2005)

MORS IPERATRIX MUNDI  (Self released, 2005)




Review by Christopher

With so many releases to review, and being such a picky bastard as I am, its fair to say that I don't find much that impresses me. So when a band like URNA gets sent to me, I'm quite grateful.
As of 2004 or so, Black Metal has seen itself incorporated into Shoegaze/Indie bands. You know, bands like LIFELOVER, KRALLICE, and other such rubbish think that they can make Black Metal something that is "beautiful", in a more traditional sense.
News for these guys, Black Metal was already beautiful because of what it is not. It is not crowd pleasing, it is not "catchy", it is not accessible to the average metalhead's ears. It is (partially), an expression of the artist's views, and an outlet to harbor seething contempt for aspects of modern society.
URNA, thank their black souls, have managed to craft a formidable, atmospheric, and yes, beautiful album. What the listener is treated to is hard to describe. Lush, Funeral Doom-type soundscapes (which remind this reviewer of SKEPTICISM), are mixed with booming percussion, Black Metal screeching, occasional piano, and a visceral, Ambient mood. Be sure, this album will drag you into its ambiance, and present a vast, gloomy plethora of sound.
The two part title track/opener sets the bar, leaving the listener wallowing in an atmosphere of despair, yet while feeling completely tranquil and inspired. My personal favorite track is "K-Th-R". This follows the formula that the previous tracks followed, but with an additional emphasis on the lead guitar, along with a more dissonant Black Metal feel on the rhythm guitar. The monolithic trudging guitar part at around 4 and a half minutes in, coupled with the spaced out lead tapping, is surely the highlight of the album for me.
"Om" follows in a much more Ambient style than the previous three tracks, relying more on the cosmetic keyboards to carry the tune. The fifth track, "Sefira Malkuth", temporarily ruins the flow of the album by starting out with a tribal like, almost Industrial sounding beat. After around a minute it dissipates into a Blackened Doomy enveloping monster, but really, what the fuck was the deal? That minute costs this album a half point on its own. With the closing of the final, untitled track, our journey with URNA into the depths of the cosmos and brooding, seething depressive melancholy comes to an end.
Honestly, I have listened to this album quite a bit since I first received it, and I place it highly on 2009's best of list so far. For the listener who wishes to dream, to lose themselves in thought, and to witness how a successful fusion of Ambient, Funeral Doom, and elements of Black Metal is supposed to sound, look no further than this ambitious and spirited effort.

[9 out of 10]



Review by Bertrand Marchal

When it came out in 2006, I was quite pleased with 'Sepulcrum', the previous album from Italian Doom outfit URNA. Though, I think it suffers from a lack of intensity and an overall roughness that contradicts what appeared to be the obvious ambitions of the band. With 'Iter ad Lucem', URNA has crafted a successor to 'Sepulcrum' that fulfils all I sensed of the band’s potential. The music takes off at last. It has become more complex and more effective.
How could I categorize the band on this album without diminishing its aura? Funeral Doom would be a little short. Experimental? The band is digging a vein that is already exploited by others, Esoteric being an obvious influence. Atmospheric Doom is vague but more accurate however, for URNA's 'Iter ad Lucem' is made of all that: dark atmospheres, smooth and flowing moods.
From a Black Metal background, URNA kept the incisive accents of the voice, which ranges between husky shrieks and more typically Death grunts, as well as the Black-ish runaway rhythmic conducted by a drum machine that, this time, is perfectly controlled. It brings an sense of emergency that plunges the next instant into viscous swamps.
Contrasts indeed, that's what the band's music is made of. That makes it dynamic and vibrant. It's all together slow and fast, dark and light, pure and unhealthy. The rhythm has an effective mystical power. While 'Sepulcrum' was only an addition of various impressions, they perfectly intersect now, ensuring a greater cohesion to the whole.
The guitarist's playing has obviously been the object of which they took special care. It is much more aerial than before, its leads draw in the warm air some prodigious arabesques which brings the music to stratospheric heights. The magestic pace is obsessive and very compelling.
The Doom of URNA has an obscure psychedelic side. It is a long, feverish journey full of fascinating detours. The Production is also excellent with its muffled grain increasing the mysterious dimension of the band.
'Iter ad Lucem' is an album that really surprised me. It has everything you want: it is haunting, insistent and dark. My only slight complaint would be that if you know Esoteric's music or even the first album of URNA's fellow-countrymen Arcana Coelestia, the resemblances will jump to your ears. That being said, the inner quality of the music that the band offers you is so convincing, you can only admire the work.


Review by John Ray

Metal has long been embraced as a metaphor for darkness, and funeral doom may be its most effective vehicle, as its crushing heaviness and ponderous pace instantiate at once the blighting of sight, sound and serenity. But, if funeral doom is a lugubrious spectral monstrosity bent on the obliteration of light, Iter Ad Lucem finds its flesh to expose its essential humanity. Rather than play around with the mere contrast of dark and light and, hence, good and evil, Urna propose these as inseparable elements of the greater whole; the deeply enmeshed prospect of death in life.
This sub-genre is certainly far from saturated. It may actually be one of the least frequented corners of the metal world. That said, those listeners who dare to venture into these murky, musty enclaves (more than once), are very much at home here among the likes of Esoteric, Catacombs and Evoken. Urna do their doom with a blackened aesthetic but while this makes them an even rarer breed than many, they haven’t staked new claim as much as they’ve extended the boundaries of this dark dominion beyond the markers laid down by Nortt and Elysian Blaze.
As is to be expected from any respectable funeral doom record, this one is ridiculously heavy, quite often painfully slow, and fatally oppressive. One of the pitfalls of even really good funeral doom, however, is that slow and heavy can tend to sound awfully familiar, even when coming from a different direction. And, actually, Urna do sometimes come uncomfortably close to what might be called a mélange of the aforementioned bands. Where Urna leave their magic mark is in leavening the bitter melancholy with the faintest shimmering thread of light that sometimes sows hope but as often serves merely to cast a jaundiced reminding glare on the pitch of slowly enclosing walls.
Dissonant, droning, downtuned guitars and black-tongued intonation dominate the aural vista on Iter Ad Lucem’s six tracks and forty-five minutes but it is the array of incorporeal accompaniment swirling around this malignant mass that gives it its shape. Synthetic percussion heaves and pummels the acrid air in gargantuan resonant waves as eerily hollow baroque-ish keys sometimes rise to an uneasy dance with fuzzy grey ambient tendrils. But even as this imposing portent of death relentlessly advances, lurching and lunging at times with surprising agility, it can neither contain nor repress the ethereal hope spun forth by majestic leads. Like rising smoke in vague relief against the night sky, the lead melodies on Iter Ad Lucem soar undaunted above the malaise, beautiful and intangible; both absolute and elusive in their promise of sanctuary in the blackness.
Iter Ad Lucem translates loosely from Latin as, “path to light,” or perhaps, “journey to the light of day,” which implies a present blackness. Urna’s second full length album offers a delicate, heartening glow in the depths of the abyss. It is uncertain though as the album comes to its stark and unsettling close, whether the light is being slowly and inevitably engulfed.

[8.2 out of 10]


Review by Pagan Shadows

Iter Ad Lucem is the most recent release from synthetic musical wiz MZ. This master mind is also behind Arcana Coelestia and Locus Mortis. Funeral Doom has always been a bit hard for me to digest. Although I don't always enjoy the hyper fast and furious side of Black Metal, the ultra slow pace of Funeral Doom can become boring after a while. Fortunately, I found out that lately, a couple bands had the knack to introduce some genuine creativity into this rather "static" genre. It was the case with Russia's Flegethon and now it's Urna's turn to present its twisted blend of post Black Metal / esoteric type of Doom Metal. Slow to mid-fast paces are the rhythms on which the double basses and pounding percussion are beating the tempos. Heavy/ crushing and loud musical phrases with regular calmer parts are what your ears will be treated on this disc. Intense and dramatic patterns are omnipresent, created by the master himself, along with dissonant tonalities and clean vs. distorted arpeggios. This hellish story is being told by some discrete, but quite sick, raspy vocals. The ambient and spacey moments come in as soothing breaks in this infernal soundscape. "Iter Ad Lucem Pt.II" and "K-TH-R" are my overall favorite compositions on this new work. Iter Ad Lucem is a good step forward in bringing Funeral Doom music to the more adventurous metal ears.
[4 out of 5]


Review by Viktoria

Urna is an Italian project of RM and MZ (they are also members of Locus Mortis) born in 2004. They have succeeded through the years to combine elements of funeral doom, ambient and black metal into some of the most achingly haunting and beautiful music your ears and emotions will ever experience. Iter ad Lucem (very loosely translating to Pathway to Light) is their latest offering. Lyrically interesting too (all lyrics are in Latin with Italian and English translation), is their use of the concepts of Hermeticism, Buddhism and elements of Kabbalah with a heavy dose of esotericism.
All the music found within Iter ad Lucem is majestic and forceful. “Iter ad Luce Pt.I” starts with a slow funeral doom dirge punctuated by gorgeous guitar work and bombastic percussion. Guitars are passionate and mournful; vocals consist of a death/black metal rasp. A subtle combination of music and vocals being equally substantial to the overall composition. In “Iter ad Lucem Pt.II”, a gothic slant is heard; the music is moody and supernatural in sound. While it may seem sorrowful, there is a sense of strength and invincibility. A disharmonic piano floats hauntingly above, breaking the rhapsodic roar of the song. Sometimes “Iter ad Lucem Pt.II” becomes ambient and somewhat new-agey, but once the growling vocals reappear we are thrust back into a ferocious din. “K-TH-R” is the mid paced track on the cd. Soaring tremolo guitars are played intricately and emotionally. Vocals have a symphonic and classical tinge to them, as also the composition. On “Om” Urna display a deft hand at the balance of tranquility and chaos. Atonal sounds grate against a steady double bass drum. Above it all; a guitar melody is played effortlessly. “Sefira Malkuth” is a blast of exceptional drumming and precision-like guitar rhythms. The music, lyrics and vocals intertwine fluently.
While each song may be a dirge to doom and the esoteric, there are moments of subtle gentleness. The sonorous beauty of darkness and the hermetic, and the realization of this beauty is reflected in every track. Similar bands such as Nortt and Esoteric come to mind when listening to Urna, but Urna is Urna. Their own voice and adoration to their creation is evident in their work. This is not music to listen to in the car; this is music that needs the time and atmosphere of a quiet room just to take in the sumptuous and impressive production and mastery of sound. Am I too enthusiastic over Iter ad Lucem? I think you’ll find the proof just by listening.


Review by Ellen Simpson

'Esoteric' doesn’t even begin to describe Urna’s second full-length album "Iter ad Lucem". An incredibly dark and mysterious journey, it sees co-conspirators MZ and RM recoiling away from funeral doom staples like eyeless serpents from the light, instead choosing a difficult yet rewarding path which is all their own. Slow-paced clashes of mired-down, discordant guitars go a long way in creating the mystical atmosphere, but drone elements, cold ambience and a bravery in the face of both lightness and creativity are also key to making this a very interesting listen.
The six lengthy tracks which make up the album have at their core a discordant, multi-layered, noisy, dirty guitar sound, which crests and flexes away alongside drifts of deep drone and ambient pulses, perfect for balancing calm melancholy and threat. Over the top soar inventive and powerful leads, tinged by a great variation of tones, from the squealing, progressive approach of opener "Iter ad Lucem pt. I", through the echoing and trance-inducing cleanness of "Pt. II", to the spiralling assault on "Sefira Malkuth". The juxtaposition of the astral, unbounded leads and the claustrophobic, shadowy distorted core, replete with savage, guttural vocals from the depths, allows Urna to combine vastness with savagery in a unique and effective way.
Typical song structures are largely set aside, as the depth of the production is more than matched by the scope of the compositions. "Iter ad Lucem" works better as a whole journey, in which the listener can wallow, picking out the steps to enlightenment contained within its mystical meaning. Crescendos and intense bursts of blackened funeral doom give way to clean keys and ambient pauses as individual tracks disintegrate and re-build, lending the tracks an unpredictability and instability that suggest Urna’s eyes are on a higher prize than accessibility and ease of understanding.
Indeed, the complexity and album-wide structuring of movements may be a turn-off to some, but for those interested in discovering something a little different within the funeral doom genre, this is a particular treat, custom-built for long evenings sitting in the dark. Visionary, emotive and uncanny at the same time, "Iter ad Lucem" sees Urna get the best out of their blackened funeral doom roots, and ever-growing experience with electronic terrorism.
[8 out of 10]


Review by Johannes Schmuck

“Iter Ad Lucem“ – der Weg zum Licht führt durch eine Dreiviertelstunde Düsternis, durch erdrückende Schwere und esoterische, monolithische (auch auf die fast gleichnamigen Bands bezogen) Gitarrenteppiche und –leads. Kryptische Songtitel und eine gewollt dumpfe Produktion verleihen den Songs eine besondere Atmosphäre, die zwar nicht sehr innovativ ist, aber in diesem Fall sehr gut funktioniert. Und das alles aus dem sonnigen Italien? So eine Finsternis gab’s da wohl zuletzt beim Ausbruch des Vesuvs in einem Örtchen namens Pompeij.
URNA erfinden das Rad nicht neu, was auch nicht ihr Anspruch ist. Parallelen zu ESOTERIC finden sich fast in jedem Song, jedoch legen die Italiener noch mehr Gewicht auf Ambientparts und variables Drumming – wohltuende Temposteigerungen verhindern an den meisten Stellen das Abrutschen in den Abgrund des Einheitsbreis. Die düsteren Growls sind zwar in diesem Stil typisch, jedoch hätte eine saubere Stimme an vielen Passagen besser zur Schönheit der Lieder beigetragen. Viel zu früh enden diese dann aber meist mittels (unpassendem) Fade-Out.
Trotz dieser Kritikpunkte gelingt es URNA, ein Album zu zaubern, das auch in der oberen Liga des extremen Doom mitspielen kann. Denn das, was URNA im Sinn haben, gelingt ihnen auch! Geisterhafte Atmosphäre, beruhigend und doch innerlich aufwühlend, zu erzeugen schafft nicht jede Gruppe. Es gäbe viel auszusetzen, doch zählt nicht das Gesamtbild mehr als die Kleinigkeiten? Der Fluss des Albums wird nie durchbrochen, was das Album weit weniger sperrig macht als “The Maniacal Vale“ von ESOTERIC (Die Grandiosität dieses Werkes will ich hier gar nicht in Frage stellen!). Auch schaffen es URNA eben durch die abwechslungsreiche Arbeit der Rhythmussektion, die Farbigkeit der Gitarren noch zu bereichern und gewisse schwarzmetallische Einsprengsel stehen der Musik sehr gut zu Gesicht.
Ein kurzes, dennoch wirkungsvolles Doom-Album, dass dazu einlädt, es mehrmals zu hören und immer wieder zu genießen.
[7 out of 10]


Review by Lucas

With Iter Ad Lucem, Urna delivered one of the best Funeral Doom albums of '09. It seemed nobody noticed, though, as they're rarely the subject of discussion. Time to fix that.
Urna is not a newbie in the scene. Iter Ad Lucem ("Path towards the light") is their third full-length and the guitarist and bassist of Urna is also the guitarist of Arcana Coelestia. And that is immediately the most important comparion. These two Italian Funeral Doom bands share a large part of their sound, but whereas AC is chaotic and cataclysmic, Urna is cold and sorrowful. Don't get me wrong - there is plenty of Esoteric (-lite) hellfire and mayhem on Iter Ad Lucem, but the main component is definitely sorrow.
The sadness the album emits comes from it's strongest element - the wonderful guitar tone. It's translucent, lucid, glacial and full of sorrow. From the get-go, Urna manages to sound utterly honest in their sadness, due to this opaque sound. MZ's riffs paint bleak pictures, with soaring melodies buried deeply within, tearing your soul apart. Coupled with RM's Funeral Doom growls - you know, those deep, lifeless growls with the occasional harsh edge - Urna is quite the overwhelming ensemble.
Unfortunately they cannot keep the listener in their sonic embrace all the time. In a few of introvert moments of pondering they forget about the listener and let go for a while. This does not happen often, though and when it does, chaos and sorrow are usually quickly restored. After more than sixty minutes, one can only conclude Urna has created a dynamic, harrowing and agonizing album.
[8.5 out of 10]  [N. 9 in the "BEST EXTREME DOOM METAL ALBUM" Poll 2009]


Review by Cult Of Blood

"Esoteric Funeral Doom“ bietet also der Marsch am Morgen (lt. „Iter Ad Lucem“) - Fronthäuptling MZ werkelt dabei auch bei unzähligen anderen Italiano-Härtnern wie zB Locus Mortis, Arcana Coelestia oder Absentia Lunae, die zeitgleich mit URNA releasen. Wer an gestandenen Funeraldoom denkt, kommt an Namen wie Skepticism, Esoteric oder auch Ahab nicht vorbei - wobei das Duo aus Cagliari sich gerne ein „Post“ auf die Stirn klebt und somit wieder mal einen neuen Stilbegriff in die hoffnungslos überfüllte Arena wirft.
Etikettenschwindel? No na. Der schwere, zähflüssige Inhalt der sechs standesgemäß überlangen Songs ist meist nahe dran am ursprünglichen Minimalsound der Altvorderen, bietet aber wenig Neues oder gar Kontroverses. Die leichten Schwarzmetallreste wirken eher im Gesang als in der Musik nach; Licht oder gar Hoffnung am Ende des Tunnels bietet der Zweitling aber zu keiner Sekunde: kompromisslos growlt/kreischt man sich durch langgezogene, verhallte und in den Hintergrund gedrängte (Akustik)Riffsegmente; wobei das rituelle und programmierte Schlagwerk sich gerne mal in ungewollten Abgründen verstrickt oder bei den kleineren Ambientintermezzis dezent zurückhält. Molltönende Klavierspielereien oder in sich gekehrte Ruhepole lockern die Düstermucke immer wieder mal ansprechend auf, doch die alles übertönende Schwere oder die garstig-fiese Atmosphäre bzw. Abartigkeit der oben erwähnten SuizidMeister wird hier zu keiner Sekunde erreicht.
Noch fehlen gewisse Trademarks, feine Trennlinien zwischen Gut und Böse, packende Arrangements, ein brachialer Sound … Monotonie allein - in Verbindung mit der korrekten spielerischen Umsetzung (hier ist eher Feeling denn technische Raffinesse angesagt) – reicht da noch nicht ganz aus um sich einen Platz an der Sonne zu sichern. Oder im tiefsten Schlund der Funeraldoom-Hölle, wo sich „The Maniacal Vale“ von Esoteric seit geraumer Zeit breit macht…
Egal ob eure Nadel jetzt am zweigeteilten Titeltrack (Two is the Number, the Number of Urna) hängenbleibt oder sich beim luftig-schwülstigen „Om“ irgendwo in Zeit und Raum verliert - Tristesse und gepflegte Langeweile bleiben stets aufrecht. Berauschend ist „Iter Ad Lucem“ trotz seines durchaus vorhandenen Potentials im Endeffekt nicht geworden.
[3 out of 5]


Review by Kampfar

If I’d been a global dictator – one with all the firepower in the whole wide world at my disposal – I’d exterminate all Muslims and Christians not willing to piss, shit, vomit and ejaculate all over their mongoloid books of holy crap. The same applies to (orthodox) Jews, fuck all them desert gods, but when it comes to Buddhists, of which few live in deserts, I downright fail to dig up any sort of hate. Fucking hell, not even mild contempt, and that’s because Buddhism is more a guidance to life than it is a religion. Hints and tips, if you like. Or was that Hinduism? Ah, fuck it, Urna is the 31st physical characteristic of Buddha and it both symbolizes and radiates wisdom.
That was an incredibly shitty intro, boys and girls, but you deserve even less. Fuck circa all.
Ahem, Urna is, at least according to last.fm, a black metal ensemble which incorporates elements of funeral doom and ambient, but what I hear is the exact opposite, namely an ambient funeral doom orchestra doing a firm nod towards, yet “only” harboring a distinct feel of, said black metal. In other words, this is not what I’d call metallo nero torvo da una foresta funerea. Not entirely not, but in the end not very close. Anyways, I don’t give a flying fuck, for nowadays I’m brain damaged enough to appreciate even funeral doom, though I must admit it doesn’t happen often as me not making sense. Nonetheless, I have the ability to digest said style, most so when done by Runemagick, true, but also Ahab makes me feel like moving into a coffin. Urna doesn’t, but fuck me in the face with a mace if they don’t show the world that yes, they do have a fucking clue. Unlike you.
Rhymes are kinda lame, and that Busta dude is incredibly so, but I’ve already established that the same doesn’t apply to Urna. However, dear fucking Houston, I do have a problem. See, I’ve listened to this album on an almost daily basis for the last 2 weeks or so and I’m still not entirely sure what to make of it. The reason why I’m so confused follows here: when utterly stoned, tired and in bed, it works all fine, a method I’ve tried twice, but when up and ready, it more or less falls through. I’m not entirely sure if it is right to detract points because of it, but I do so anyway. You know me, I’m the kind of guy that thinks killing a few innocents are entirely OK as long as you get all the vermin while at it.
I’m not so sure that made any sense at all, but it doesn’t matter, because now I’m about to tell you that this album is indeed quite massive. Played loud, it will rumble your surroundings, provided you aren’t the proud owner of some shitty cardboard speakers, that is. Of course it is, and just as obvious is the fact that Urna rumbles and churns the most when the whole orchestra, and not just the ambient part of it participates. 2 doesn’t make an orchestra, but my contacts in Italy has informed me that both members are very schizo, each having like 7 different personalities.
Before I do the summary and fuck off already, I’d like to inform you that the vocals aren’t bad at all, a proper sneer with a venomous edge me likes.
So, not an album I’m about to marry this, but it is good enough to further prove that the Italians are nowadays capable of more than just power metal, prog-rock and opera. And that’s why I hereby declare the extreme metal scene in Ferrari-land to be quite interesting anno 2009.
[6,5 out of 10]


Review by FVRM

Le immagini oniriche di universi oscuri attraversano le venature del nuovo viaggio intrapreso dai seminali Urna. Sin dall’inizio la percezione del suono si espande, uscendo dai crismi di ciò che un tempo poteva essere definito funeral doom, ma che in questo album vibra di una nuova linfa avanguardista e supera le proprie barriere per descrivere un arco che abbraccia una molteplicità immensa di influenze. La ricerca raffinata e profondamente particolareggiata degli strumenti si fonde assieme ad una vocalità umorale e magistralmente ombreggiata, in un’entità unica e sognante, che sperimenta nuove soluzioni, rimescolando e ampliando le basi di quanto sin ora proposto dall’ensemble verso nuovi affascinanti orizzonti. Estremo ma al contempo poetico, oscuro eppure rivolto al superamento della tenebra, “Iter Ad Lucem” è un mix perfetto di atmosfere e sentimenti che, resi musica dalle composizioni dell’album, vengono portati in tutte le loro minuziose sfumature all’ascoltatore in un climax emotivo che non può che risultare avvolgente...
[8,5 out of 10]


Issue n. 8

This is my first cooperation with ATMF records, and looking to this band I suppose they mostly concentrated on doom metal music. Well, URNA is coming from Italy, band was formed back in 2004 and they are totally into funeral music (to the fact, this project was made by mastermind of LOCUS MORTIS and ARCANA COELESTIA). Yes, we have the deal with funeral doom metal, made in all its deadly beautiful and gloom. Music is made by using of such typical slow rhythms and really dark atmosphere. I like such music, but not all bands of course, and URNA is pretty good for my soul! The whole album sounds very interesting and pressing, dense, slow guitars are freezing your mind you can think about nothing at all… Also here are some ambient touches on this album (which are pretty good combined with main structure). All in all this album made in classic funeral doom way, and will be greatest gift for all the fans into DISEMBOWELMENT, UNHOLY or SCEPTICISM for example (yeah, same moods has been found over here!). So what we have here at all? And we have here no more no less but worthy work into funeral doom metal, where you’ll be pleased by real dark melancholic atmosphere, killer drumming, awesome guitar work (wait also for solos!) and ambient touches, made with great obsession of death! Do you ready to invite the death there in your house??
[4+ out of 5]


Review by Hailmarduk666

This band blows away every other black funeral doom band that I have heard to date. The music is so dark and powerful, with excellent keyboard passages, and interludes that seamlessly bring together all the music featured in this record.
Urna has definitely found their niche. Unfortunately it is a relatively unknown niche, overshadowed by the behemoths of Elysian Blaze, and Nortt; however this band is more polished in many ways than the aforementioned. For one thing, they are much thicker in atmosphere, concentrating on guitar work instead of EB, where it is synth based. Nortt is just rediculously slow, with little in regards to atmosphere, just fantastic melancholy and their music is just dismal.
Similar to Esoteric, there is overdubbed black metal, and death metal vocals, with extremely thick guitarwork, that is layered and terribly slow. Drumming is spot-on, keeping excellent rhythm (which I find a feat with music as slow) and excellent fills using cymbals, and there are good double bass sections as well.
Where this band differs though, is they can combine thick and relentless atmosphere with very subtle and minimal bridges, that are stark and unsettling in how dismal they sound, and are a shock when you go from chokingly thick atmospherics to near-nothingness. The structures of the songs keep things interesting, and refrain from plodding. It seems that Urna has found the delicate balance between redundancy, and the mesmerizing, and climatic aspects of the repetition factor of the doom metal genre.
All songs have their very dissonant main riff, where they retain a slow and depressive pace, leading into a nice soft interlude, and sometimes ending the song from there, or returning to another slow riff, usually to fade out into the next song. The way it's done is such that you never really know where one track begins, and the other ends. There are several crescendos and diminuendos throughout each song, so things move along at the same pace overall despite the speed changes in certain parts of the songs.
Nonetheless, Urna stands out on it's own for songwriting, production and effectiveness, which is the reason that I gave the score that is above. There is not really much lacking, the songs are long and slow, thick and evil, and they are not boring. The melodies are well written and the bridges and ambient portions are not out of place and enhance the recording. Overall, there is not much left to be desired here. A definite recommendation for all fans of The Austrasian Goat, Esoteric, Evoken, Nortt, and Elysian Blaze.
[97 out of 100]


Review by Matma

Sono qui davanti al mio pc con un cd nel lettore e la cuffia nelle orecchie che sto ascoltando per l'ennesima volta il nuovo "Iter Ad Lucem" dei sardi Urna e ancora non riesco a staccarmi, non riesco a fermare questo turbinio di disperazione e di tragedia che fuoriesce dai diffusori e che penetra l'animo. Un effluvio di emozioni che permeano ogni passaggio, ogni singolo momento di questo strepitoso come back. A distanza di tre anni circa dal precedente già magnifico "Sepulcrum" recensito dal sottoscritto già in maniera entusiastica torna una delle band più cupe e ossessive del Bel Paese con un altro anatema di disperazione duro come il granito e freddo come una lapide in una nebulosa mattina di Novembre.
"Iter Ad Lucem" eleva ancor di più se possibile spiritualmente il concetto espresso dal suo predecessore e lo fa in maniera raffinata e profonda, con una musica sopraffina, con splendidi passaggi di pianoforte sormontati da strazianti urla di disagio profondo, introspettivi scenari dark ambient ed eterei riff di chitarra distorta, in un concentrato di sensazioni cupe e morbose. Gli oltre 9 minuti di "Iter ad Lucem pt. I" passano che nemmeno te ne accorgi, e così dopo una partenza così maestosa "Iter ad Lucem pt. II" ti stende senza mezze misure con le sue rarefatte ambientazioni oniriche, quelle chitarre sovrapposte, arpeggi puliti che emergono da riffing ruvidi e spigolosi dove si adagia una solista distante e teatrale. Lo scream alternato al growling poi dona pienezza ad un substrato di doom lento e decadente scandito da un drumming monolitico ed incessante. E' una musica piena, che ti avvolge completamente e ti guida in un universo lontano e alieno, in un mondo senza speranza di salvezza, ti mostra le cose sotto un altro punto di vista, ti trattiene incollato alla sedia per tutta la durata.
Non è facile da recensire un lavoro così variegato e pieno di momenti differenti, dall'Ambient al Dark Ambient più oscuro e lisergico, tremendi passaggi di pianoforte, disturbati e disturbanti al tempo stesso, freddi e diabolici note fluite dai tasti d'avorio per avvolgere le tracce e dare un alone ancora più cupo. Impossibile un track-by-track, quando siamo di fronte a dischi di questo tipo, dove sono le emozioni la colonna portante del tutto è inutile parlare di musica intesa come tale, anche se mi permetto di dire che questo lavoro è suonato in maniera impeccabile da professionisti che sanno sia comporre brani di indubbia qualità così come maneggiare gli strumenti. Il resto è dettato dalle impressioni, dalle sensazioni che scaturiscono, dalle capacità di coinvolgere l'ignaro ascoltatore, e questo disco ha dalla sua una cartuccera piena di colpi da sparare, uno dietro l'altro senza un momento di sosta. Impossibile restare impassibili di fronte ad un lavoro come questo, Doom e oscuro Post-Black Metal Apocalittico e drammatico. Ma il mio "lavoro" di recensore mi impone di citare ancora la quinta traccia "Sefira Malkuth" e la sua ritmica marziale, spezzata e infernale che l'accompagna per mano nella parte iniziale e che ne riprende il discorso nel proseguo di questo immenso momento. L'oscurità chiama altra oscurità e il drone oscuro e sulfureo della traccia conclusiva senza titolo conduce inevitabilmente in un punto ancora più oscuro dal quale sarà impossibile riemergere.
Di dischi come questo ce ne sono davvero pochi, non è da tutti convogliare una quantità così ampia di emozioni in 44 minuti con così tanti passaggi e parti differenti che si compenetrano e si completano e soprattutto con una capacità quasi disarmante nel tessere trame perfette e ricamate con una teatralità davvero impressionante. Impressionerà anche voi, se amate questo tipo di concetto musicale e oltre al "True Black" siete aperti anche ad altro. Un disco da avere e da riverire. Bentornati Urna.

[9 out of 10]


Review by Mirror

Terzo album per gli Urna, progetto parallelo di due dei membri dei Locus Mortis, una delle più acclimate black metal band italiane.
La band sarda, che inizialmente ci aveva presentato un funeral doom con sfumature black, in questo disco cambia logo ed attesta un definitivo allontanamento dalla frangia black metal che del resto si era già visto nello scorso “Sepulcrum”.
Il livello compositivo si mantiene alto e questo nuovo lavoro di certo non sfigura di fronte ai due precedenti album della band, anzi, “Iter Ad Lucem” è il loro lavoro certamente più maturo.
La band ha ormai trovato una propria dimensione, una precisa identità e si sente che i due musicisti coinvolti hanno una grande passione per quello che fanno.
“Iter Ad Lucem” è un disco dai riff lenti e attanaglianti, dalle atmosfere glaciali e fluttuanti, è un disco che crea la giusta situazione mentale per chiudere gli occhi e immergersi in paesaggi fantasiosi, per potersi addentare nei più profondi meandri del nostro essere. Molto, in questo senso, comunicano i passaggi soltanto ambient che lasciano proprio strada ai pensieri. Questa maggiore apertura verso il lato “ambient” è infatti la caratteristica principale del nuovo lavoro della band che, per il resto, non si discosta più di tanto dalle sonorità (già vincenti) del precedente “Sepulcrum”.
Sempre efficaci sono quindi i passaggi chitarristici che tessono trame graffianti e d’impatto, come è vincente l’utilizzo di una doppia voce, senza dimenticare intensi tappeti tastieristici.
Come già detto, gli Urna, hanno trovato una propria dimensione e questo disco attesta l’ottimo stato di salute di questo progetto. “Iter Ad Lucem” è quindi un disco da ascoltare con attenzione, con una buona concentrazione, perché non è un’opera così immediata, ma vi catturerà. Non ci sono dubbi, si tratta del miglior lavoro di questo progetto, curato nei minimi particolari, con canzoni che mantengono sempre un livello di “emotività” molto alto.
“Iter Ad Lucem” dimostra che con gli Urna, noi italiani, abbiamo la nostra migliore realtà in ambito funeral doom!
[3,5 out of 5]


Review by Tim Meisenheimer

A reviewer really only needs three words to describe good funeral doom, blackened or not: slow, heavy, majestic. Urna's Iter ad Lucem can be described using primarily those three words.
Is Iter ad Lucem slow? Of course! Moving at the speed limit established fifteen years ago by Thergothon and Skepticism, Urna crawl ably through their blackened dirges. Only occasionally do the they stampede and charge into new wakes and untrampled graveyards. There is power in this tempo, mean and slow and utterly depressing, devoid of light. What I find interesting though is that while the vast majority of this moves at that same lethargic tempo, the most truly powerful moments are those when the double bass drum kicks in: a short middle section in "Iter ad Lucem pt.I" and again in "Sefira Malkuth." This album could use a few more of those thunderous sections as the lack of variety in the pacing does make the songs blend together just a bit. It's definitely trance-inducing, but not always the most wakeful trance.
Is Iter ad Lucem heavy? Again, the answer is, Of Course!  While Urna calls themselves blackened funeral doom, this is heavier than bands like Nortt or Asofy or even the mighty Skepticism. Whereas many funeral doom bands rely on space and openness to be heavy, this album is a monument to density. Even the quiet sections are full, pulsing requiems; this never devolves into the maudlin synth work that sometimes trips up Esoteric or makes Until Death Overtakes Me seem slightly melodramatic and weak. The production deserves some of the credit though, because IAL sounds fantastic, refreshing in this subgenre. No distant hollow drums or thin trebly guitars trying to fool the listener into heaviness that just isn't there. Like the constancy in tempo, the near-overwhelming heaviness does make this a bit of a challenging listen. There are no respites for the dead or dying here.
Is Iter ad Lucem majestic? Definitely. Maybe not as much as early Skepticism or Ahab's Call of the Wretched Sea (an album that set's the bar pretty fucking high), but Urna are almost on the same level. These songs evoke wonderful sadness with their dark anti-dulcet keyboards and understated, but certainly black metal, vocalizing. The music never succumbs to histrionics or stylistic ostentations: this is one of the most musical funeral doom albums I've heard (There are guitar solos! quite good guitar solos). IAL is soaring melancholic melodies intertwined with thunderous, heaving funereal hymns, the essence of funeral doom.
Iter ad Lucem is good funeral doom, occasionally reaching greatness. It satisfies the prerequisites of the genre while avoiding said genre's biggest liabilities. My only complaint is the similarity and same-ness of the songs and music, but it's a minor complaint and is more on me as the listener than Urna as a band. A little more variety (difficult, I know, within such a rigidly limited genre) and Urna will take their rightful place with other funeral doom greats.
[7,8 out of 10]


Review by Jordan Itkowitz

When I checked out Urna’s 2006 release Sepulcrum, I was struck at how similar it sounded to Arcana Coelestia’s Ubi Secreta Colunt. Both featured a fusion of funeral doom and black ambient, of cosmic light bleeding through waves of crushing darkness. A quick trip to the Metal Archives cleared up my hunch – they’re both the ambient/black/funeral doom projects of Italian electronic/drone mastermind MZ.
Now, if you’ve already read my review of the new Arcana Coelestia, Le Mirage de Idéal, you’ll know that I found that album disappointing because it lost the focus, cohesion and songcraft that made Ubi Secreta Colunt such a haunting, mesmerizing listen. Funeral doom is ponderous and protean in nature, but it was that album’s structure that made it so easily absorbed. So perhaps this just boils down to a question of expectations: I expected Arcana Coelestia to remain the more composed, linear and listenable of MZ’s projects (haven’t heard Locus Mortis, so I can’t comment), whereas I expected Urna to be its looser, more unstructured counterpart. (Whether or not these expectations are fair or not is up for debate, but I can’t find any clearer way to distinguish between the two).
With that in mind, Iter Ad Lucem is, to me, the more successful of the two new releases, as it achieves exactly what it set out to do: engulf the listener in a colossal, kaleidoscopic vortex of sound. It’s still as spacey and atmospheric as Arcana, but it accomplishes this without that project’s signature astral warble. Rapturous guitar solos swoop and dive through the murk, as they do on Le Mirage, but the guitar takes on other, more recognizably ‘metal’ voices as well. “Sefira Malkuth” opens with choppy fragmented riffage, and the two-part title track uses a chiming, dissonant refrain that conjures the more subdued and mysterious side of mid 90s death metal. And throughout it all, the vocals are harsher, more blackened and overall more unsettling. They also forgo the clean, soaring croons and female operatics that add a touch of recognizable humanity to the Arcana experience, making this the bleaker of the two projects.
All that said, this is strictly background music for me – I’m not enough of a funeral doom fan to really obsess over this stuff, and I no longer use ambient, atmospheric music as a night’s entertainment the way I used to in my college days. Still, this is a high-quality, well-produced slab of sonic phantasmagoria, and definitely worth the journey if you’re into the more obscure and mystical side of black, drone and doom.This band blows away every other black funeral doom band that I have heard to date. The music is so dark and powerful, with excellent keyboard passages, and interludes that seamlessly bring together all the music featured in this record.




Interview by Amikkus

Greetings. Urna is based in Cagliari, the greatest city of Sardinia. What's the situation there at the moment? Which places and/or buildings would you consider inspiring in this area?
Hi, first of all thanks for this interview. I think that Sardinia is a good area for people and places, for the interesting history and for some others points of view...For our music is sure that our land had inspired me in any way.
MZ: Here the situation is not the best at all for many different reasons, many limitations afflict people that live in this place who are forced to pass their existence apart from the rest of the world. I don’t care too much about my hometown, its history and places, I prefer to move my interests on things that go over the geographical dimension and related colonization, but it’s only a personal consideration.

From where do you take composing ideas generally? Is there certain literature you consume or any persons you kind of admire so much that they take indirect influence to the acoustic manifests of Urna? I've seen several pictures of the coast side of and around Cagliari... a sunset for example must be very impressive there, isn't it?
MZ: I’m interested into existentialistic and nihilistic philosophies and reading some esoterical and spiritualistic scripts but I don’t consider it as a direct influence for the musical sphere, I prefer taking inspiration from “my reality”, from things and situations that surround me every day in my life and unconsciously, I translate them into musical shapes when I have to record a guitar riff for Urna or some other band where I’m involved.
I appreciate nature but I don’t consider it as a direct source of inspiration like could be for many Norwegians wood lovers and snow covered mountains. Natural landscapes and sunsets could only enhance some gloomy feelings in me, nothing more.

Continuing my thoughts of the questions above: Why aren't there any lyrics? Is it because of personal reasons or do you think that no one will be able to understand them, thus consequently leaving just a thanks list in the booklet?
First of all, our lyrics are written in Latin language to hide the themes behind the music. We think that only the persons that are nearest us in everyday life could know what are our words and its meanings.

There are many bands nowadays which make use of Latin quotes or even poems, some of them (like Visthia for example) go one step further and exclusively write their lyrics in this ancient tongue. How did your affinity towards Latin arise, what makes it so special in your opinion? What's your opinion on the increasing attention that the language gains in the Metal universe?
RM: I don’t have any affinity with all the clowns that abuse Latin even if they exactly know what they are saying. I can appreciate bands like Abruptum for their musical and stylistical side but I find it ridiculous that a Viking speaks about Latin culture, same goes for an Italian band writing Norwegian lyrics or try to speaks about mountains and Scandinavian landscapes. There is nothing special in it, Latin is the Italic language for excellency both for the linguistic roots of our modern national language and for its historical grandeur. I think that the choice of a language merged with a determined musical style is important, the sound of some words and phrases gives a major feeling to the music.

Before we come to the album, I would like to compliment you on the superb artwork which is perfectly fitting the music. Who created it, what was the concept respectively the idea behind it and what does it actually depict in your opinion? How important is imagery for you in conjunction with music and lyrics?
RM: The front cover and back cover are created by me for PaxGraphicArt, the idea was to create a gloomy feeling in the front cover. A doomy image that has to be understood in every particular suggestion to appreciate the graphic work, there are some “shadows” in the image and it’s sure that, if you look carefully, you can see some hidden particulars. In this way I’ve created the back cover only with a particular of the front one. Inside the booklet there is simply a photo taken from a monumental graveyard inside the city of Cagliari.

"Sepulcrum" really lives up to its name: The record sounds like a paralysed journey through dark, mystic and dusty catacombs full of eerie moments. Especially the very unique ambient spheres, in which the actual songs are packed into, impress me a lot. How do you induce such phenomenal sounds, is there any other equipment besides keyboards and synthesizers that generate them? What does the composing process generally look like, which kind of connection exists between you both?
MZ: There isn’t any keyboard on “Sepulcrum”, I only used synthetics sounds generated by software. The composing process starts only with a singular guitar riff, then I mentally plan a structure of the song and I add background drums that help me to write other guitar riffs following a homogeneous structure. When the song is quite complete, RM studies his vocal parts and I complete the work with ambient landscapes and various instrumental overdubs like soli, effects, clean guitars etc.
Due to the fact that every lengthier song gets followed on by an atmospheric interlude, the question arises if we can speak of a concept album here and if you plan to continue this on the next record(s). What kind of line runs like a thread through the full-lengther, which lyrical and musical syntax shall be heard out of this massively doomy wall?
RM: So, when we decided to put out our first full-lenght album with Urna, I was listening for the Monumentum album “In Absentia Christi” (one of my favourite albums for all eternity) and it was incredible as at that time, a band could create a similar “opus”... all the tracks are connected with a sort of constant intermezzo that was repeated from song to song... you know?
So, the idea for us – and me especially – was to create a sort of musical concept where all tracks united could give a fluid sensation at the entire work but also an incredible hard to degree sense of gloom and paranoia. I think that our intent has been achieved if you asked for a “massively doomy wall” hehe, or not?

Since I'm of the opinion that you don't give a flying fuck about stylistic genres, I'm firstly curious how you would describe "Sepulcrum" in its entity: Where are the strong points for you (favourite tracks etc.), what emotions evoke inside of you when the album is spinning in your stereo and most importantly: which commonly known genre is represented here the most? Secondly, I'd be interested in if there's anything you would like to correct/optimise afterwards (which I for myself don't think).
MZ: I think “Sepulcrum” is at the same time Funeral Doom for its slow coming tempos, Black Metal for cold feelings and ritualistic Ambient on the whole of his mass, but technically, I like to consider it as an electronic music release because there is a large abuse of digital instruments and effects. My favourite tracks are “Ego Sum” and the Outro “Sic Juvat Ire Sub Umbras” for their decadent melodies but it’s difficult for me to make a choice because the album should be judged by his own entirety. I listen very rarely to “Sepulcrum” because it’s an album that could be understood in a particular mood only and fortunately, I’m not too often in it.
I would like to correct some particulars in the sound of the tracks because I’m never satisfied of my work, I hope that in a next reprint of Sepulcrum (if there will be a reprint) I could change some particular things in the production to emphasise the feelings of the songs.

Another thing that got my attention was that practically, there are no real breaks on "Sepulcrum". It's like an everflowing, liquid stream of consciousness, pushing you through the acoustic catacombs. Was it coincidence or one of your goals to achieve this state? How have you done it on your earlier works, is there a similar atmosphere?
RM: In our first works, the atmosphere is more different than now, in “Sepulcrum” we have no breaks because our target was to realize a work that couldn’t be achieved from all, so we decided to create a work that only persons “like us” could appreciate it... and I think that it is a work that, listened to in the best atmosphere, could give you some strange sensations... like a kind of “state of trance”...

When I think about "Mors Imperatrix Mundi" for example with its pitch black growling vocals and the devastating, restlessly murky music that comes from the background and rolls over you without mercy, I wonder how long it must have took you to combine all these elements and stick them together so perfectly and what kind of visions have ridden you while doing so. Tell us a little bit about the actual recordings of "Sepulcrum" - any special moments worth mentioning?
MZ: We needed 3 years of work since the first MCD “Justa Funebria” to find the right way of songwriting and merging different styles, now our method is a tested certainty for us and next Urna albums will be released sooner than “Sepulcrum” did, even if our personal sound and its procedures evolve constantly in new dimensions. There wasn’t any special moment or thing that I remember from the “Sepulcrum” recordings, I can only remember the satisfaction when the final shape of the songs was coming out during recordings and mixing step.

In several other interviews, you've stated why you covered one of Beherit's better songs called "The Gate of Nanna", so I won't repeat that question here. I would rather like to how this cover stands to the rest of the album. Do you consider it as the perfect ending of "Sepulcrum"? Who came up with the idea of taking to a more doomy level? Would you pick up other hymns from bands which mean a lot to you in your future works? If it is possible by now, please give us definite examples!
MZ: We like it so much to make covers of bands that we consider as seminal for our musical growth, sometimes we like to change the songs as we’ve done with “Gate of Nanna”, sometimes we leave the songs quite similar to the original version, it depends on what we want to do at the moment. I don’t consider “Gate of Nanna” as a perfect ending because perfection is the artistic death of a thing, the album ends formally with the previous ambient-instrumental song; Beherit’s cover should be considered as a bonus track that follows the musical style of the entire album. With the next Urna releases, we haven’t planned any cover because I don’t want to make any kind of clichè, I don’t want to consider Urna as the band who always plays at least a cover in their albums.

What are the future plans for Urna at the moment, in which direction do you want the project to go? Will be there re-releases of your works with Urna on vinyl and tape, if it goes after you?
MZ: I don’t know anything about re-releases, now we are working on the new stuff, I hope to release the sequel of “Sepulcrum” on the first half of 2008, the new material continues the actual style with some new features, I think it will be a right compromise of classic Black Funeral Doom with more electronic experimentations on it.
RM: For the vocals, at now I’m listening for different stuff from Black Metal and Funeral Doom and I’m interested to test on the new album some clean vocals and screamed lyrics... To give you an example, at now I’m listening for bands like Isis, Mare and similar acts... so, I’m looking for similar influences...

Let's talk about some general stuff now: How did you got into the whole metal environment, what bands are "responsible" for it? Do you also listen to music beyond metal, which other genres do you prefer? Any latest purchases you would like to recommend here?
RM: We listen to various genres of music, and this one is the reason because we merge into “Sepulcrum” different musical influences. Personally, I prefer Black Metal in all of its shapes, ambient/industrial, doom/sludge/stoner/funeral doom and similar, drone, ’60s and ’70s rock sounds and some others. As I said before, now I’m listening for bands like Isis, Mare, Eluvium, Minsk, GodFlesh, Jesu and similar.
MZ: I also like all this musical stuff listed upon by RM, I can only add to the list classical music and modern avantgarde metal.

Do you agree with the majority in the Black Metal "scene" that it's nowadays a tough not to discover real gems? What are the real problems of this genre now and how would you solve or at least diminish them to an acceptable degree? Give us a comment about the spreading disease of NSBM too!
MZ: I don’t care about the Black Metal scene, I think there is too much superficiality and consequent trends, the BM movement by now spreads to the masses and this has determinated its artistic death. I have always considered BM like a genre that opposes invidualism against mainstream but now it has totally been convolved into the trends and the music buisness as a part of the system. I think a possible solution is to elevate Black Metal to an higher cultural level, deleting any kind of simplistic symbolism (inverted crosses, swastika, pentagrams, 666…) that can make easy fascination to the common people and play more ostic music for the same reason. The first step should start from the bands first but they aren’t enough reckless to renounce to this large audience of idiots so I despite the Black Metal scene, I don’t have any interest on this “New Wave of Glam Metal”. NSBM acts should be purged if Hitler was alive but for them, it is only negligible in particular.

If you would write a manual for your musical creations: How does it read like? What kind of moods, views, experiences etc. do you expect from the listener to comprehend the quintessence of Urna? Does it even take certain tools to emphasize the impact?
MZ: I think everyone has his personal way to metabolise music, every person should let flow his own emotions by listening an album and they are not forced to follow the same view of the artist that has composed the work. The most important thing for a work is that it shouldn’t pass unperceived.

Before we come to an end here, I want to talk about your label: How did you come in touch with ATMF, do they suit your visions concerning business issues and creative open mindness? What's the contact situation? Any comment on ATMF's other releases? Which kind of bands would do recommend/discourage the label?
MZ: Behind ATMF, there are guys that know well how to lead their label, so I don’t have any suggestion or comment on their releases to say to them.

Alright, thanks a lot for your time. Close this interview either with good advices or intelligent quotes from more or less known individuals!
MZ: Thank you for your interest. I’m sorry but I’m only a musician and I really don’t like slogans too much.
RM: I think that it could be all for now, hehe. Thanks again for the interview and support!






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