Italian Doomers BRETUS Tell Ghostly Tales on New LP, ‘Magharia’
Artwork by DamianaMerante
Hailing from the City of the Two Seas, Italian doomers BRETUS return with a new album of ghost stories. Longtimers know that Bretus and Doomed & Stoned practically grew up together. Though the band has been active since the turn of the century, our first exposure came with their debut full-length 'In Onirica' (2012) and subsequently we formed a friendship with the Catanzaro doomers that continues to this very day. It's hard to believe they're already over two decades old (okay, 20 years young, if you like). And what do they have to show for it? A handful of LPs, an EP, and a split with fellow Italianos Black Capricorn.
If you're as much a fan of vintage horror movies, H.P. Lovecraft lore, mysticism, and the occult as Zagarus (vox), Ghenes (guitar), Janos (bass), and Striges (drums), there's a whole world of story and sound awaiting your deep dive into the Bretus catalog. Adding to their already excellent discography, a fifth album now reveals itself: 'Magharia' (2021).
I won't spoil my interview with the band (see below) if I tell you that the album concerns, shall we say, several tales of the supernatural variety. An ominous gong is struck to the backdrop of monastic chant as Magharia opens in epic fashion "Celebration of Gloom," a song characterized by a chugging proto-trash tempo, trve metal stylings, and Gothic vocals appropriate to it's subject. It's a rather grim account of a certain sacrilegious priest and his daliences with young women of the church. As a preacher's kid, I've seen this kind of thing play out a hundred times and can assure you these sweeping romances between clergy and laity never end well. In this case, it winds up with a ghoulish rite and a victim's vengeance.
"In the sky lightning strikes...wicked laments rise from the ground." Welcome to "Cursed Island." True to the spirit of the lyrics, this track really let's it all hang out, with quasi operatic vocals that occasionally erupt in maniacal laughter (reminding me vintage Reagers-era Saint Vitus, with its lusty swagger). And why not? This is after all about the mystery that surrounds one of the most haunted islands on earth.
Thus far, the record's been sporting a pretty up-beat pulse, so surely you're ready for some good old fashion doom? "Moonchild's Scream" concerns a albino girl accused of being possessed by the devil for her appearance. One day, she disappears in the dungeons of a castle and legend has it that her cries can still be heard every five years during the Summer Solstice. Doesn't get more doom than that, folks!
After a brief interlude ("Necropass"), we arrive at my favorite track of Magharia. "Nuraghe" concerns the spirit of a woman judged and condemned for a crime she was innocent of still roams among the ancient stones. Boy, the ancients sure did have a hang-up with free-spirited, independent women, didn't they? The song itself is possessed by the spirit of Pentagram in its biting guitar work and rhythmic attack. Love the riffage on this one! Some of it could have been played out just a little more for my taste, like the all-too-brief Soundgardenesque motif at the two-minute mark. It returns a minute later, again in brief. C'mon Ghenes, let your inner Kim Thayil loose! Maybe we can convince them to improv at this point with a bitchin' guitar solo at their next festival appearance. Then again, perhaps this fits artistically with the song, which speaks of obscure "grim dancing bats" and a ghost that haunts through swift shadows passing over glimmers of light. Once again, Zagrus expressive song style comes through to distinguish this as a gem of the genre. I shall be revisiting it on my personal playlist often.
"Headless Ghost" strikes graceful Goatsnake groove as the yarn is spun about the restless and tormented soul of an ancient Roman warrior who has risen from his place of rest. All he wants is the skull that was looted from his place of burial. Give it back to him! "No one will be spared tonight," the lyrics warn, as the song shifts down to a dire doom dirge as the night unveils a strange moon and the wanderings of a cursed soul, seeking his head and not more. "He is living again in this hell."
"The Bridge of Damnation" is one of the creepiest of the record, said to be about "a bridge, a young boy, and his three torturers." The mood is quite dark, with esoteric atmosphere, reverberating vocalizations, guitar and bass trading off notes. Oh, and did I mention this tale from the crypt involves death and resurrection, as well? The riffmaking and drumming are absolutely on point, as is the singing -- which by now in the record I'm not only am accustomed to, but have grown to admire. Another keeper!
"Sinful Nun" winds and grinds as Zagarus croons about the inner torment of a Sister who has never gotten over her beloved, who died under such unspeakably tragic circumstances that she decided to consecrate herself to God in celibacy. However, her vows are in vain as she still pines for her long lost lover. The verses are sung to the accompaniment of a galloping tempo, which seems to represent the fevered anguish of a soul forever stricken by grief and the haunted memories of lost love. This is juxtaposed in the chorus by a cursed riff that seems to speak as the Hand of Fate itself. "Farewell to this life," are the Sinful Nun's final words.
At last, we reach the album's namesake and though "Magharia" is entirely instrumental, it would be a mistake to assume you know what it's going to do. Around the four-minute mark, I had to check and make sure I was listening to the same album, as dark synth busted out a metronomic rhythm, leading to a declamatory section of keyboards to accompany the math-like guitar play and an improvisation of almost creepy seventies-sounding prog, which after its playful fit dissipates suddenly in a bluesy collapse.
Bretus have cooked up a remarkable horror soundtrack that, though it speaks of ancient lore, is very much a fitting backdrop to the unreality of our own times. Fitting somewhere on the stylistic spectrum between Candlemass and Paul Chain, Reverend Bizarre and Cardinals Folly, Margharia may be the band's finest effort to date. Certainly, it rewards repeated listens, and will haunt you for many years to come. Look for the record to drop this weekend (pre-order here), with multiple physical formats releasing via The Swamp Records (compact disc), Burning Coffin Records (cassette), and Overdrive Records (vinyl). Until then, you can stream it all, right now, right here!
What is the concept behind the new album and what themes do you explore?
Musically the new record is most "in your face" than the previous album. Also our approach to the recording was different. We rehearsed and arranged together more than before. The result is an album more raw to us. It is a concept album born around different italian old ghost tales. Some of these is supposed to be legend or myth, who knows.
When did you write it? Was it during the pandemic lockdowns?
We had more ideas about new stuff long before the pandemia arrived. We spent this time working on the pre-production of the tracks.
Can you give us a track-by-track explanation of each song on the album?
"Celebration of Gloom" is a strange song because there are many influences in it. Including a solo flute in the middle of the track. However is a very loud and gloomy song.
"Cursed Island" probably is the most rock 'n' roll song of the album. If you know what I mean. Rock in the attitude. Also the first video of the album.
"Moonchild's Scream" is 100% pure Doom with a heavy mid-section.
"Necropass" is like Caronte travelling the damned souls across the Stige River.
"Nuraghe" is a heavy oriented track with a very dark feeling.
"Headless Ghost" has a more stoner trend than the others and in the end there is a psycho riffing.
"The Bridge of Damnation" includes our '80s dark influences into our sound, probably the most haunted track of the album. The story is based upon an old weird story that happened in our native city, Catanzaro.
"Sinful Nun" is like an experiment and neither of us can explain really what it is... ah ah aha! For sure the most heavy track of all.
Finally "Magharia." You cannot believe it but the idea comes from a Who's album, Quadrophenia. Either of us wrote a part of the song. The result is a kind of horror soundtrack.
How do you feel that your basic style or approach to song composition has changed since you first started writing songs in the early days?
You already know a lot of things about us, we know you from so long ago! Please don't ask how old we are. (laughs) Basically our approach is the same from the beginning. Of course we listen to a lot of new stuff during these years so every album brings different "colors."
Where are you most looking forward to playing live once pandemic restrictions are eased?
Everywhere! We are angry for live gigs or simply to drink beers with friends.
