Disarmonia Mundi: Cold Inferno-2015.

Disarmonia Mundi:Proggressive Melodic Death Metal from Italy.


Fragments of D-GenerationFull-length2004
Mind TricksFull-length2006
Perdition HazeSingle2009 
Nebularium + The Restless MemoirsCompilation2009
The Isolation GameFull-length2009
Princess GhibliCollaboration2011
Princess Ghibli IICollaboration2012 
Princess Ghibli the Best Selection RevisitedCollaboration2013 
Cold InfernoFull-length2015


Ettore RigottiVocals, Guitars, Bass, Keyboards, Drums (1999-present)
See also: The Stranded
Claudio RavinaleVocals (2004-present)
See also: 5 Star GraveThe Stranded, ex-Ground Zero, ex-Frostbane

Past Members:

Mirco AndreisBass (1999-2005)
Simone PalermitiGuitars (1999-2002)
Benny Bianco ChintoVocals (1999-2002)
See also: Six-Point Lead, ex-Dying Awkward Angel
Federico Cagliero “Fedaz”Guitars (2002)

One thought on “Disarmonia Mundi: Cold Inferno-2015.

  1. gasmask_colostomy, August 22nd, 2017

    When you first listen to Cold Inferno, particularly the gradual build-up and sudden cacophony of opener ‘Creation Dirge’, you might be forgiven for thinking that something has exploded either in or very close to your ears. If the volume is jacked up, be prepared to pay for shellshock counseling, because the music comes pouring out of the speakers with a layered sonic intensity that simply screams modernity, from the powerfully crisp guitar to the clarity of the melodies and regularity of the drums.

    After that violent introduction, you might find that Disarmonia Mundi are not quite the beast you thought they were, since the actual content of the album (as opposed to the production and mixing) is not nearly as heavy or complex as the first impression would suggest. Balanced somewhere between the melodic death metal of the band’s past and the more recent developments that have become prevalent since 2009’s The Isolation Game, Cold Inferno attempts to make its appeal broad enough to satisfy old and new fans alike. The clinical sound aside, many aspects of metalcore have been integrated for songs like ‘Coffin’ and ‘Slaves to the Illusion of Life’, which would fit comfortably onto recent albums by As I Lay Dying or Darkest Hour. The riffing style sometimes takes cues from the ‘core moshpit rather than the purer strains of melodeath, especially in the deployment of more physical guitar styles in ‘Slaves…’, while the screamed and clean vocals land somewhere between Killswitch Engage and Soilwork (Björn Strid guests), attempting to grab attention and induce excitement by the contrast and quick exchanges.

    The guest spot from Soilwork appears not to be a coincidence either, since the Italians have followed the Swedes in modernizing the assault and adding the same rushing velocity that albums such as Natural Born Chaos contained in abundance. The limited amount of keyboard used may make some longtime Disarmonia fans look askance at mainman Ettore Rigotti, though there is less of an effort to make songs progressive, barring a select couple of tracks. On the other hand, the infernally powerful mix does a lot of the work, rhythm guitars slamming into the listener from all sides and the comparatively quieter drums maintaining relentless beats against the tide of melody, preventing even the clean singing from becoming too light. The riffs thus take up a lot of space and energy on the album, while the lead playing is slightly more restrained, again aping Soilwork more closely than the likes of In Flames or Arch Enemy.

    The result of this move towards a more modern sound is that Disarmonia Mundi are now relying more on the dynamics and movement of songs rather than playing skills or invention. Most of the material on Cold Inferno bears some resemblance to another band, be that Dark Tranquillity in the rushing melodies of ‘Magma Diver’, Devildriver during the introduction of ‘Behind Closed Doors’, or the metalcore mass in ‘Coffin’. As such, it’s difficult to praise the band for anything resembling invention, except for ‘Oddities from the Ravishing Chasm’, which makes an effort with more than just its title to think outside the box regarding riffs and song structure. The song starts with some jazzy shredding, takes in a fairly weak clean chorus, and goes back the way of guitar bludgeoning and more creative soloing, ending up somewhere close to where it started. The opener also has a reasonable share of ideas, proving that the dramatic introduction did not signal false advertising.

    On the other hand, there is excitement, good musicianship, and a smattering of memorable sections to recommend all of the songs on the album, even if some begin to fade in a generic haze by the end of the album. ‘Behind Closed Doors’ and ‘Stormghost’ are most instantly satisfying and probably have the edge on catchiness, while ‘Oddities…’ and ‘Creation Dirge’ include content that can be satisfactorily chewed over on repeated listens. Not a stunning effort, but a worthwhile listen.

    Originally written for Metalegion #2 – http://www.metalegion.com

    Liked by 1 person

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s