Фирма Trisol Music Group

Following on from the universal acclaim of their latest LP "Le Ceneri Di Heliodoro", ROME releases one of the most impressive releases in its prolific career of 15 years. "The Lone Furrow" is the logical culmination of all of ROME's previous endeavours, a brilliant and patient demolition of the despiritualised modern age, timeless in its critique of man's greed and the deliberate desecration of beautiful things. ROME is back to fearlessly settle accounts of the spirit, with that grave trademark voice, whose tone can be likened to a wise-man's oracle, deepened by countless cigars and pools of stout, or, at times, a Stuka bomber nose-diving into dry gravel. ROME's art always stays slightly beyond the pale and Reuter certainly is what the mainstream would call a joyous outsider. "The Lone Furrow" is a mordant, clear-eyed critique of the modern world, spun with the delicacy of a spiderweb; a journey through the ravaged landscapes of history; a spiritual quest weaving a unique poetry of withdrawal from the troubling world into distant retreats. And yet, at the same time, this collection of remarkable compositions is a generous invitation to a great European Tradition of literary thought from Hesse to Nietzsche, from Tacitus to Orwell, from Ovid to the Edda, from Yeats to Baudelaire. ROME is a dark world that glows with the intensity of Jerome's remarkable gift for language. Its multilingual nature has always been an essential part of ROME - certainly in its sample work- and Reuter is showcasing this by singing (mainly) in English, but including songs in French and German on "The Lone Furrow" as well. The record opens up with the cryptic rhymes of "Tyriat Sig Tyrias" - an invocation of strengths thought forlorn. On "Ächtung, Baby!" (a tongue-in-cheek reference to U2's 1991 hit record) Jerome is joined by Alan Averill of metal cult band PRIMORDIAL. Indeed, the features and guest appearances are numerous on this record. This shows the fact that, through years of composing high quality albums, ROME has become a secret authority in the European underground as a songwriter's songwriter. And thus, Reuter, a poet with the soul of a warrior, has managed to assemble an impressive/stellar cast of guest vocalists. Most notably is the guest appearance of BEHEMOTH's Adam Nergal Darski on the seminal "The Angry Cup", on which Nergal not only performs lead vocals but adds an intriguingly brutal Polish incantation. Further guests are Joseph D. Rowland of US-doom band PALLBEARER, J.J. of Austria's HARAKIRI FOR THE SKY, as well as Laure Le Prunenec of metal-opera act IGORRR, who delivers the phenomenally eerie layered vocals on "Palmyra". At the centre of these songs we find the individual mediating between a sense of history and an experience of the world. ROME illuminates us on the fact that art is to make our world whole and comprehensible, restoring it to us in all its glory and all its darkness, not through argument but through feeling and thus closing the gap between individuals and thus transcending from feeling to meaning. In this way, art can reconcile us to human life through the pursuit and cultivation of beauty. On "The Lone Furrow" ROME weaves a fantastical tale in which gods and men alike ache and tremble and which reminds us that the world is much larger than our ideas of it, our traditions much deeper than we imagine. Most importantly, ROME refuses the easy answer

Since day one, Ronny Moorings transferred the mood of the era into his music. He did so 35 years ago when he ignited the hearts of the uprising goth movement with his fabled debut "Clan Of Xymox". And he did so in 2017 when he released "Days of Black", his very own requiem to a dying world. 2020 sees Moorings return with yet another manifesto of melancholy. And even if this catastrophic year is good for nothing else, at least it gave us this masterpiece. "Spider on the Wall", that much is certain already, is the most important goth release of the year. And ultimate evidence that this music, however loyal to its origins, is still better in channelling the zeitgeist than anything else. This comes at a stage when Moorings most certainly has nothing left to prove. The Dutch goth icon is one of the last of his kind, someone not only playing goth music but breathing it. As mainland Europe's most influential goth project, CLAN OF XYMOX comes second only to the pilgrim fathers BAUHAUS or THE CURE - bearing in mind the both precious and unusual difference that Moorings is as creative as he ever was, broadcasting his morbid ballads with the same zeal, the same agony. This isn't the Cold War anymore, this is not the eighties. The epic scope of his music, however, remains the same. Fortunately, "Spider on the Wall" is free of unpleasant surprises. Almost 40 years into his services for the dark side, Ronny Moorings finds himself at yet another high in his career. His songs breathe sophisticated weltschmerz, carried by mesmerising beats, reverb-drenched guitars and floating synthesizers, his whole world of sound a lesson in fine goth arts. As on his seminal and groundbreaking releases in the murky eighties, CLAN OF XYMOX still court with the promise of catharsis. Yes, the world is pretty much fucked. Yes, these are dire times. But at least we now have the appropriate soundtrack for this dystopia turned reality, sporting "I don't like myself", "When we were young" or "Lovers", three of the finest pieces he ever wrote. Pretty remarkable for someone who released his first album 35 years ago, isn't it?

Following on from the universal acclaim of their latest LP "Le Ceneri Di Heliodoro", ROME releases one of the most impressive releases in its prolific career of 15 years. "The Lone Furrow" is the logical culmination of all of ROME's previous endeavours, a brilliant and patient demolition of the despiritualised modern age, timeless in its critique of man's greed and the deliberate desecration of beautiful things. ROME is back to fearlessly settle accounts of the spirit, with that grave trademark voice, whose tone can be likened to a wise-man's oracle, deepened by countless cigars and pools of stout, or, at times, a Stuka bomber nose-diving into dry gravel. ROME's art always stays slightly beyond the pale and Reuter certainly is what the mainstream would call a joyous outsider. "The Lone Furrow" is a mordant, clear-eyed critique of the modern world, spun with the delicacy of a spiderweb; a journey through the ravaged landscapes of history; a spiritual quest weaving a unique poetry of withdrawal from the troubling world into distant retreats. And yet, at the same time, this collection of remarkable compositions is a generous invitation to a great European Tradition of literary thought from Hesse to Nietzsche, from Tacitus to Orwell, from Ovid to the Edda, from Yeats to Baudelaire. ROME is a dark world that glows with the intensity of Jerome's remarkable gift for language. Its multilingual nature has always been an essential part of ROME - certainly in its sample work- and Reuter is showcasing this by singing (mainly) in English, but including songs in French and German on "The Lone Furrow" as well. The record opens up with the cryptic rhymes of "Tyriat Sig Tyrias" - an invocation of strengths thought forlorn. On "Ächtung, Baby!" (a tongue-in-cheek reference to U2's 1991 hit record) Jerome is joined by Alan Averill of metal cult band PRIMORDIAL. Indeed, the features and guest appearances are numerous on this record. This shows the fact that, through years of composing high quality albums, ROME has become a secret authority in the European underground as a songwriter's songwriter. And thus, Reuter, a poet with the soul of a warrior, has managed to assemble an impressive/stellar cast of guest vocalists. Most notably is the guest appearance of BEHEMOTH's Adam Nergal Darski on the seminal "The Angry Cup", on which Nergal not only performs lead vocals but adds an intriguingly brutal Polish incantation. Further guests are Joseph D. Rowland of US-doom band PALLBEARER, J.J. of Austria's HARAKIRI FOR THE SKY, as well as Laure Le Prunenec of metal-opera act IGORRR, who delivers the phenomenally eerie layered vocals on "Palmyra". At the centre of these songs we find the individual mediating between a sense of history and an experience of the world. ROME illuminates us on the fact that art is to make our world whole and comprehensible, restoring it to us in all its glory and all its darkness, not through argument but through feeling and thus closing the gap between individuals and thus transcending from feeling to meaning. In this way, art can reconcile us to human life through the pursuit and cultivation of beauty. On "The Lone Furrow" ROME weaves a fantastical tale in which gods and men alike ache and tremble and which reminds us that the world is much larger than our ideas of it, our traditions much deeper than we imagine. Most importantly, ROME refuses the easy answer

Red marbled 2x12 vinyl with the bonus track Torpedos (Live in Stuttgart) recorded on the 20,000 miles tour. Opulent Gatefold Cover. Printed inner sleeves. Certificate card, hand-numbered. Strictly limited to 333 copies worldwide

Where does man end and machine begin? His trademark sound is hard hitting and precise, yet passionate and full of longing, adrenalising and shattering at the same time: The electronic breath of this world. Guiding us from futuristic and progressive techno dystopias via mesmerising trance and classic electro craft to nostalgic wave and monotonous EBM.

Rock

Record Label: Trisol Music Group Style: Rock

Record Label: Trisol Music Group Style: Rock

Artist: ASP Label: TRISO