The Cross

A very interesting album, full of impetus, anger and despair, all with the exceptional class of a group that may not publish albums often but when it does, it has something to say.

REVIEWS

magazinerockersandotheranimals

5/29/2022 3 min read

Band: The Cross

Title: Act II: Walls of the Forgotten

Genre: Doom Metal

Label: Pitch Black Records

Release Date: 27 May 2022

https://www.facebook.com/thecrossdoom

1. Behind the Stone Gate

2. Walls of the Forgotten

3. Beyond the Eyes of Seth

4. Sonnenstein Castle

5. Umbral

6. Ouroboros

Lineup:

Louis – Drums

Eduardo Slayer – Vocals

Paulo Monteiro – Guitars

Daniel Fauaze – Guitars

Leandro Kastyphas – Bass

Recognized as the first doom metal band in Brazil, The Cross was founded in Salvador by Eduardo "Slayer" Mota in 1990 with the band’s sound and style inspired by bands such as Black Sabbath and Candlemass. “Act II: Walls of the Forgotten” deals with a variety of mythological and historical themes, Lovecraft-inspired themes and also inner suffering.

Containing six tracks features exceptional guests such as Albert Bell (FORSAKEN, NOMAD SON), Leo Stivala (FORSAKEN), Achraf Loudiy (AETERNAM) in "Beyond the Walls of Seth", Aaron Stainthorpe (MY DYING BRIDE) in "Walls of the Forgotten" and Steve Lombardo in"Umbral".

I quoted Lovecraft, as reported in the album presentation because in the first track 'Behind the Stone Gate' we find the myth of Cthulhu, an intense song with the gloomy atmosphere that deserves the subject a melodic sound and despite alternating with more 'open' veins you can breathe the oppressive air marked by the deep strings of the bass and the rather crushing rhythm; the very interpretive vocals, at times almost guttural, are more of a desperate cry, perfectly in line with the entire composition that goes beyond my expectations, this is because subjectively, everyone in their own imagination has a specific perception about books and stories that bringing them to music or film could disappoint; well this is not the case because The Cross has managed to transport the body of Cthulhu in music.

I don't have time to savour this first track when I find myself in the meanders of 'Walls of the Forgotten' as if the second track were the natural continuation of the first, so here too we find the same imprint of an oppressive sound full of darkness, a beautiful piece with drums that impose themselves without overdoing it but rather succeeding in cadencing the structure of the song. Aaron Stainthorpe's voice is excellent, as always.

In Beyond the Eyes of Seth, which features Achraf Loudiy as a guest, is a more despairing piece than the previous ones heard, although it does not lack the typical doom atmosphere, it is a rather hypnotic track that manages to weave in subtle prog veins, definitely a piece that stands out among these six tracks.

In Beyond the Eyes of Seth, the sound is more threatening and considering that the song is based on the figure of Seth, god of disorder and violence, the concept is clearly evident. Heavily dark and with a deep rhythm, the song is a sort of cage from which you will hardly be able to get out because it is a song that captures and you would like to listen to it again several times.

Sonnenstein Castle, infamous as a Nazi extermination center and formerly a mental hospital, is the inspiration for a piece that is as sad and gloomy as it is interesting and strong.

Touching such a devastating theme, it is impossible not to reflect on the wickedness of humanity, of the accomplished barbarisms and those in progress. Musically, The Cross reports in a strong tone how much humankind has shown itself in the course of history. In this song the band manages very well to capture hatred and oppression.

Let's move on to the next Umbra, a beautiful, intense track, with Steve Lombardo as a guest, it is a markedly dark song that shines with its own light due to changes in tempo, pressing moments that alternate with other more airy ones and is another gem of this album.

Ouroboros closes this work, a perhaps more intimate and refined piece that seems more open to both musical and conceptual abstractionism, in which the esoteric symbol of the snake biting its tail is the very existence of a new beginning.

Airy, almost immaterial piece that tends to soar towards a hypothetical infinity with harmonious guitars, a lighter rhythm and a vocal that is closer to a

anguished cry. Beautiful closure.

A very interesting album, full of impetus, anger and despair, all with the exceptional class of a group that may not publish albums often but when it does, it has something to say.

Valeria Campagnale