On November 27, 2024, Italian Doom Metal/Dark Ambient solo artist Padus, unveiled his seventh full-length album, “Il Diavolo E Il Tecnezio” — a haunting sonic journey released through The Triad Rec.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
Opening Atmosphere
When the listener presses play, the first track, Demones, enters on a swift but ominous introduction, setting atmosphere with malevolent organ drones and distant, ritualistic incantations. The track is an incantation, calling forth the dark themes of the album.
Structural Distinctions
As the listener embarks on their exploration of the second piece, Sangue Corpus Christi, along with the other five compositions, they will discover that Il Diavolo E Il Tecnezio stands apart from Opera Funebre. While Opera Funebre presents a complete sonic instrumental experience, Il Diavolo E Il Tecnezio blends vocal elements with atmospheric instrumentals across seven tracks. Maintaining the essence of doom metal and dark ambient soundscapes within a concise duration of under thirty-seven minutes.
Thematic Depth OF mysticism & decay
As the music progresses, listeners will discover that the central theme revolves around dark mysticism, alchemical change, and existential deterioration. (with some information), incorporating references to technetium (Tecnezio), a radioactive element frequently linked to transformation and decay. The title itself — “The Devil and Technetium” — implies a blend of the occult and the scientific, perhaps alluding to the relationship between mysticism and physical decay.
Artistic Execution & Sonic Landscape
Simultaneously, Padus has unveiled yet another profound listener—a dark fruit of artistry, meticulously shaped through a devilmanship that infuses the music with a tightly woven, flawless composition—both instrumental and musical. As in previous works, Padus captures and embraces a raw, atmospheric production style, one that enhances the blend of doom metal and dark ambient with an almost ritualistic fervour.
The recording takes on a rough, lo-fi texture, which contributes to the album’s dark, haunting soundscapes and ritualistic atmosphere. Everything—from the low, rumbling bass lines to the eerie organ work—sounds intentionally rough-hewn, allowing the music to boil with an unsettling, almost primal energy. The programmed drums, rather than draining the organic feel, provide a mechanical stiffness that works in tandem with the album’s themes of degeneration and transmutation.
This sonic approach doesn’t merely act as a backdrop; it’s a vital component, defining the album’s immersive and hypnotic nature. The distorted soundscapes, murmured incantations, and cavernous reverb conspire to create a soundscape that’s simultaneously ancient and otherworldly, like something unearthed from some forgotten ritual.
Production, Instrumental Focus & Sound Design
The overall tone is one of bass, ambient, and organ sounds. As noted previously, the bass is again at the forefront, delivering low, resonant bass that propels the compositions forward. The organ sections, once more a central element, contributes a liturgical, haunting feel that contributes even more depth to the album’s decay and mysticism themes. The tone is heavy, with reverb and drone-like soundscapes stacked atop each other contributing a hypnotic, enveloping experience.
In contrast to the other instruments and vocals, the drums are programmed, often acting as a percussive pulse rather than a leading rhythmic force. Although the album does not heavily depend on traditional guitar work, it emphasizes bass-driven textures and ambient effects to establish depth. The vocal delivery is ritualistic and atmospheric, merging spoken-word passages, chants, and distant echoes to amplify the album’s esoteric essence.
Symbolism and Sonic Exploration
Song titles like Sangue Corpus Christi bring up religious imagery, possibly critiquing religion or delving into sacramental symbolism. Onomatopeide, the longest track, appears to explore abstract soundscapes, once more illustrating the atmospheric and ritualistic quality of the album. The other instrumentals, Danza termica and L’arloj dlà mort, set the mood for eerie, haunting, experimental, and meditative contemplation. “The lyrics of the songs: “Demones” and “Onomatopoeid” are sung in “grammelot“, a theatrical language with the emission of meaningless sounds, but similar to real words or speeches in order to obtain a comic or farcical effect.” [Padus]
Final Incantation: A Mournful, Free-Flowing Closure
Closing with the closing instrumental piece, Improvvisazione viola, adding a mournful, classical touch to the album’s dark ambient framework. The organic, free-flowing nature of the track contrasts with the structured doom elements, closing the album on a contemplative note. We want to give a shoutout to: The Triad Rec for letting us review Padus and his album, Il Diavolo E Il Tecnezio. Now, we are going to conclude the review by talking about the final three sins and concluding the review.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Padus
MZ — Distorted bass, Organ, Drum programming
