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Month: March 2019

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There’s no question about the indelible mark Chuck Schuldiner left on the worldwide metal scene through the work with his band Death. That the world lost one of its greatest innovators was clear even back then and even moreso now. In the ensuing decade since Schuldiner’s passing in 2001 various bands have sprung up to fill the void left by Death. The darkness of the catacombs gave the world the likes of Ekpyrosis, Ferum, and Amthrÿa (all of whom worship at the altar of Death in more primitive ways). The obvious candidate to carry on Schuldiner’s legacy is German act Obscura, now defunct Californian unit Insentient (fronted by Leslie Medina) but also Southern Italy-based Resumed. This Italian quartet debuted in 2014 with the rather unassuming but highly impressive “Alienations” and now, four years later, return on Danish label imprint Mighty Music (once home to Iniquity, among others) with “Year Zero”. Suffice to say, “Year Zero” was well worth the four-year break in between releases.

Hailing from Abruzzo in Southern Italy Resumed formed under the name Holy Terror in 2007 with the earliest line-up consisting of core trio of Daniele Presutti (vocals, lead guitar), Carlo Alfonso Pelino (bass guitar) and Filippo Tirabassi (drums) as well as Nikolas De Stephanis (lead guitar). Before independently releasing their “Human Troubles” demo recording in 2009 the four changed to their current moniker. In 2012 De Stephanis bade the band farewell after which Pelino took his place on lead guitar and Giulia Pallozzi was brought in on fretless bass guitar. Two years later “Alienations” was released to little fanfare but obviously stirred enough interest for Mighty Music to offer the Italian quartet a recording contract. As with their debut “Year Zero” fuses influences from forgotten Italian technical death metal pioneers Desecration (“The Valley Of Eternal Suffering”) with established American – and European institutions as Atheist (“Piece Of Time”, “Unquestionable Presence”), Pestilence (“Testimony Of the Ancients”, “Spheres”), Theory In Practice (“The Armageddon Theories”, “Colonizing the Sun”) and, of course, Death (“Human”, “Individual Thought Patterns”, “Symbolic”). It’s an impressive showing to say the least, especially from a band little over a decade old.

What makes Resumed different from a good majority of their peers is that their tempo is far lower and their approach is more song-based. Italian death metal, at least the way it is understood since the early millennium, propagated itself as a more mechanical, theatrical interpretation of the Polish or Brazilian sound. As such it tends to take after Internal Suffering, early Nile with a dosage of “De Profundis” Vader to even things out. Hour Of Penance, Fleshgod Apocalypse, and Hideous Divinity are probably the most recognizable names specializing in that particular flavor of Italian death metal. Resumed brings a sense of finesse, elegance, and sophistication back to death metal. On the whole “Year Zero” very much sounds like “The Armageddon Theories” era Theory In Practice without the keyboards, or the kind of album that Death could have released in between “Symbolic” and the more power/progressive metal inclined “The Sound Of Perseverance” (which was never conceived nor intended as a true Death record to begin with). The death metal that Resumed specializes in never rages, blasts or stomps but indeed flows just like the most enduring Death records. Like on “Human” there’s a sense of tranquility, restraint, and control to “Year Zero” that’s seldom heard these days. Some might find this a bit slow for their taste, but that doesn’t change how well written it is.

While arguably lead guitarists Daniele Presutti and Carlo Alfonso Pelino are the stars of the record and offer up a veritable avalanche of solos, the importance of Giulia Pallozzi’s bass guitar cannot be understated. In tradition of Cliff Burton (Metallica), Chris Richards (ex-Suffocation), Tony Choy (ex-Cynic), Mike Poggione (Monstrosity), Steve DiGiorgio (ex-Death, Autopsy, et al), Jeroen Paul Thesseling (ex-Pestilence, ex-Obscura), Éric Langlois (ex-Cryptopsy), Niklas Dewerud (ex-Spawn Of Possession), and Erlend Caspersen (ex-Blood Red Throne) her funky licks flow above, below and in between the tides of riffs. Likewise is drummer Filippo Tirabassi a paragon of restraint, control, and finesse. As with their debut “Year Zero” too deals with the paranormal and the extraterrestrial. Whether or not the literature of famous Italian ufologist Mario Gariozzi on the subject was any inspiration we’ll leave in the middle, but it’s far more interesting than what these bands typically write about. From the production work you’d never guess that 16th Cellar Studio and producer Stefano Morabito were involved in its creation. It’s unusually smooth on all fronts and nothing like, say, the recent Internal Suffering album that Morabito produced. In general we’re not the biggest fans of what comes out of 16th Cellar Studio with “Year Zero” as the exception that proves the rule.

As heir apparent to the legacy of Chuck Schuldiner and Death “Year Zero” is as good as this thing tends to get. Resumed is not quite as hook-oriented as Obscura is on average and their songwriting is never as collected and streamlined as it was on “Symbolic”. As good as “Alienations” was “Year Zero” is in all ways superior. If there’s anything that the Stefano Morabito production has improved upon it’s the drum tones. On “Alienations” they were almost mechanical and sterile sounding, here they sound full-bodied, organic and naturally warm. Keeping up with traditions from “Alienations” the artwork was rendered by Davide Mancini. It’s comforting to see young bands sticking with what works. “Year Zero” confirms that Resumed are the heirs apparent to the throne vacated by Death in 2001, even though a tribute act like Gruesome is obviously far more popular than they’ll ever be. Resumed is refreshingly bereft of any contemporary influences and if there’s any justice in the world “Year Zero” will introduce them to a much bigger audience. With the promotion department from Mighty Music behind them Resumed is destined to become a much bigger player.

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Plot: Hercules undertakes an epic quest to retrieve the Golden Fleece

The peplum, or sword-and-sandal, reigned supreme over the Italian cinematic landscape from 1958 to 1965, even though it was practiced well into the mid-seventies. The movie to launch the peplum phenomenom was Pietro Francisci’s unassuming and somewhat pulpy The Labors Of Hercules – released in North America as Hercules and domestically as le fatiche di Ercole – whose success had producers scrambling to launch their own pepla to capitalize on its box office success. The Labors Of Hercules laid out the groundwork and established the conventions that the peplum would adhere to for the next two decades. More importantly, it introduced the world to American strongman Steve Reeves, the image of perfection to which all subsequent Hercules would be measured.

The Latin term peplum is derived from the Greek peplon, and, according to the writings of Plautus and Virgil, designates the primitive dress of Greek women and, in particular, the tunic of Pallas Athena, while other sources define it as a Roman ceremonial mantle. It was French critic Jacques Siclier who first used the term - in an article titled L'âge du peplum in the prestigious Cahiers du Cinéma in the summer of 1963 – describing a specific brand of Italian costume drama set in the ancient world with muscle-bound historical, religious, gladiatorial, archetypical heroes in the lead role. Central in many peplum were the fantastic, and mythological adventures of Greco-Roman historical figures as Hercules, Samson, Goliath, Ursus, Atlas, and the fictional Maciste. Many of the non-Hercules protagonists were based of, or derived from, characters appearing in classic Hollywood peplum they sought to imitate. The peplum was almost exclusive to Mediterranean Europe, specifically Italy, France and Spain. The peplum genre never aimed for historical, or mythological, accuracy – instead they chose the most marketable elements from whichever Hellenic legend, myth, and poem sounded most appealing.

Director Pietro Francisci envisioned his own peplum after the commercial success of the Kirk Douglas-Anthony Quinn peplum Ulysses (1954). The production needed a hulking presence as lead man, as per the template set by Bartolomeo Pagano in Cabiria (1914). Years of searching for the right man came to an end when Francisci’s daughter suggested Steve Reeves, an American body builder and Mr. Universe 1950, after having seen him in Athena (1954). Reeves’ portrayal of the original Hercules allowed bodybuilders around the world to enter the industry. Following in his footsteps were the likes of Gordon Mitchell, Adriano Bellini (as Kirk Morris), Mickey Hargitay, Lou Degni (as Mark Forest), Sergio Ciani (as Alan Steel), Dan Vadis, Brad Harris, Reg Park, Peter Lupus (as Rock Stevens), Mike Lane, and Lou Ferrigno. The Labors Of Hercules became one of the biggest box office hits, both foreign and domestic, that it prompted a peplum cotton industry in its native Italy, and in the neighboring countries of Spain and France. In its native Italy alone it grossed 887 million lire, or four times its budget – in addition to another 18 million in box office revenue worldwide thanks to the promotional efforts of its American distributor Joseph E. Levine. A year later a largely similar sequel followed with Hercules and the Queen Of Lidia, released in North America as Hercules Unchained. Again, thanks to Levine's savvy, it became a box office smash.

Steve Reeves as Hercules and Sylva Koscina as Iole

The Labors Of Hercules does indeed have its titular hero (Steve Reeves) completing two of the Twelve Labors in defeating the Nemean Lion, and the Cretan Bull. However the majority of its plot is derived from the Argonautica, the 3rd century BC Greek epic poem by Apollonius Rhodius, chronicling the myth of the voyage of Jason (Fabrizio Mionzi) retrieving the Golden Fleece from Colchis. In fifties western fashion The Labors Of Hercules opens with the hulking hunk rescueing the dashing princess Iole (Sylva Koscina) of Iolcus from certain death as her chariot storms towards a cliff. Meanwhile Pelias (Ivo Garrani), the king of Iolcus, has to deal with the treacherous Eurysteus (Arturo Dominici) in his court. Prior his quest Hercules seeks counsel of the prophetess The Sybil (Lidia Alfonsi, as Lydia Alfonsi) whereas Iole does the same in Thessaly with her multiple handmaidens, one of which is played by Luciana Paluzzi (as Luciana Paoluzzi). In an early flashback young Iole is played by Paola Quattrini. A good portion is spent on chronicling the trials and tribulations Hercules, Jason, and the Argonauts face crossing the Aegean Sea. They land at Lemnos, situated off the Western coast of Asia Minor (modern day Turkey), the island of the Amazons, presided over by Antea (Gianna Maria Canale) where the gentlemen enjoy the warrior women’s hospitality. Towards the end some Samson is thrown in. It’s all fairly standard peplum business until in the third act the pulp comes to the fore as Jason and Hercules are forced to battle the dragon Ladon, a creature bearing a remarkable resemblance to Godzilla (1954), a movie that Levine had distributed three years earlier.

Lidia Alfonsi as the oracle The Sybil

While leading man Steve Reeves was fairly new to acting Francisci assembled an ensemble of recognizable faces for the remainder of the cast. Reeves allegedly was paid $40,000 US cash for the part, a considerable salary for the time. Later Reeves was allegedly offered the roles of James Bond by producer Cubby Broccoli and The Man With No Name, the part that cemented Clint Eastwood as an icon of Italian exploitation, by spaghetti western specialist Sergio Leone. Croatian actress Sylva Koscina was a regular in Italian dramas and comedies during the fifties. Gianna Maria Canale had prior starred in the original Italian version of Spartacus (1953) – famously remade by Stanley Kubrick in 1960 with Kirk Douglas starring and producing – as well as in Theodora, Slave Empress (1954) and Mario Bava’s I Vampiri (1957). Lidia Alfonsi would cross paths with Reeves again in Morgan, the Pirate (1960) and The Trojan Horse (1961). Alfonsi would find steady work in Italian television afterwards. Luciana Paluzzi, obviously a star in the marking given her bit part here, was Bond Girl Fiona Volpe in Thunderball (1965), played opposite of Farley Granger in A Black Veil for Lisa (1968), as well as being present in the Kinji Fukasaku science fiction opus The Green Slime (1968) and the Arabian Nights cheapie 1001 Nights (1968). Paluzzi returned to the peplum genre as Phaedra, the betrothed of Theseus in Terence Young’s campy shlockfest The Amazons (1973).

Distinct not only for being the first of its kind The Labors Of Hercules is far slower and with fewer action scenes compared to the many imitations that it spawned in the ensueing two decades. It was one of the last productions by Federico Teti and The Labors Of Hercules possesses a sense of scale that would be largely absent from the 1970s excursions into the genre once the peplum was no longer deemed profitable. It’s also far more technically proficient than the imitations that followed in its wake. The cinematography by Mario Bava, son of Italy’s first special effects artisan Eugenio Bava, makes use of vivid colors, long shadows, and painting-like composition, and contrasting light and shadow. Mario Bava would in the 1960s and 70s establish himself as the master of Italian gothic horror and giallo murder mysteries. American distributor Joseph E. Levine bought the English dubbed version for a modest $120,000, shortened the title to simply Hercules, relied on radio, television and word-of-mouth promotion to stir interest in the movie and booked it across 600 theaters nationwide, a practice now known as saturation – and one practically unheard of during the 1950s. The Labors Of Hercules made $4.7 million in domestic ticketsales in North America alone. Its influence on the pepla of the following two decades is undeniable, and directors would continue to borrow from the kitschy shenanigans of Pietro Francisci’s sword-and-sandal epic.