Profezia – Dodekaprofeton

Rating: 3.5/5
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Released: 2018
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Band line-up:

Kvasir – All instruments
Ynleborgas – Drums
Domine Saevum Graven – Lyrics


1. Malachi 9:17
2. Nahum 12:01
3. Amos 4:49
4. Obadiah 3:13
5. Jonah 3:27
6. Zechariah 5:54
7. Zephaniah 17:42


Profezia are an Italian black metal band and they will release their third album ‘Dodekaprofeton’ on the 10th of August. Rather than their music being completely typical for its genre, the collective add dark wave and neo-opera to their sound. Anti-theistic lyrics add to the harshness of it. The group features Kvasir also of ‘Abhor’ and ‘Mourning Mist’, Domine Saevum Graven of ‘Abhor’, Ynleborgaz of ‘Angantyr’ and Marco De Rosa of ‘Opera IX’ and ‘The True Endless’. The album also includes a number of session performers.

The musical themes in this album are mostly pretty good if not cliched, which is fortunate because they get repeated A LOT. Clearly this music is more atmospheric than technical. Having said that, the music is far from one long blur that one only puts on in the background. Many of the songs have really exciting or intriguing sections that are true highlights and are definitely worth waiting for. Such gems include the majestic and addictive harmonies of ‘Malachi’ and the eerie Gregorian chanting of ‘Zephaniah’ and ‘Nahum’. The latter has skilfully written electric bass parts to go with it adding a degree of depth. The exciting neoclassical violin melody of ‘Amos’ is also something to look forward to, it bringing a sophisticated panic to the sound.

Some ideas are more dull, and that trait is heightened by the fact that the melodies often mimic the harmonies exactly, providing little interest. However, the somewhat frustrating chordal routine of ‘Jonah’ does work in creating a certain catatonic atmosphere. Multiple spoken voices heard at the same time create a schizophrenic hallucinatory vibe and the music is true art in that it conveys despair. Perhaps more so than morbid classical music ever could. The squealing violin parts in the album add a certain sense of horror that can’t really be conveyed by the standard metal instruments in quite the same way, so their usage arguably isn’t pointless or pretentious. Far from it. Pianos make rarer appearances but when they do appear they are very effective in creating a contrasting sense of mystique.

In conclusion, the fact that most of the songs are fairly long yet don’t usually become boring shows Profezia’s song writing skill, but it would be nice if the monk singing made more appearances. It is perhaps what separates the band the most from other black metal groups, and this band does need more originality in almost all areas. The mid tempo to faster blast beats, the screaming, the dark harmonies and to a lesser extent the orchestral instruments have all been done before. A whole album with evil monks in it wouldn’t be at all monotonous if Profezia kept up with their creative composing. Finally, if you’re new to BM or not, this album should be entertaining for you, but it’s not Drudkh or Emperor standard.

Review by Simon Wiedemann