Neurodeliri

1988 seemed the right time for the world to finally see Bulldozer like they deserved to be, no more a Venom tribute band, but rather a truly peculiar band with its very own brand of music. In the light of these reflections, IX marked definitely a 180-degrees turn from the past, more than it did music-wise. It was finally the moment for the Milanese crew to ride their wave of popularity, maybe the band members expected it to be the best year for the band's career so far. But then, in April, co-founder and former bassist Dario Carria committed suicide and complicated everything. AC Wild and mainly Andy Panigada were bewildered by the news, as fans were, and profoundly struck. Still, they managed to channel all the emotions of that tragedy in the songwriting for the follow-up to their breakthrough album IX, which incidentally would be their last full-length after their dissolution on good terms in 1990.

As a result, Neurodeliri possesses a drearier atmosphere which pops up every now and then. Carria also replaces AC Wild on the captivating album cover, which gives the right idea of coldness and desperation, especially if coupled with the title, referring the name of the band he created, but also being a synonym for a certain department of mental hospitals in Italian language. Regarding the music, the addition of keyboards, be it for atmospheric purposes like 'Overture''s somber, beautiful melody (which reappears also at the tail of the album, to give a 'full circle' impression I love so much) or the support at the riffs of the subsequent title-track, or again as a nice something extra like the amazing, power-infused duel with the guitar in the second half of 'Art of Deception', is mostly responsible for it.

The opener bursts with one of the scariest, most disgusting shrieks ever by AC Wild, even more so considering it was 1988, and I like to think that many vocalists of the time wholeheartedly envied his performance here. The sheer brutality of the song contrasts heavily with the heartbreaking lyrics ('Today is too late, the leader has left/This meaningless world forever') dedicated to the band and their unfortunate leader. The attack of Rob "Klister"'s drumming is unprecedented, and the few, dry keyboards notes which substitute the guitar solo complete the darkest Bulldozer song ever written, and it really makes you feel its background story. However, being this first and foremost a Bulldozer album, the feelings experienced throughout it aren't constant, and you can still find the usual less charged tunes.

As a matter of fact, note how each side of the LP is structured with two short songs, packed within two longer ones. For example, after the opener we find 'Minkions' and 'We Are... Italian' which are your average Bulldozer tunes, and are influenced by the early days of the band. In particular, the latter is uptempo with a NWOBHM-inspired riff, and it's the song tied the most with the past works, since it sounds like a direct throwback to 'Sex Symbols' Bullshit'. The lyrics are hilarious in their final twist, reaffirming how much our people can be proud to live here despite the millions of problems we have to face everyday. But just compare them to the aforementioned, brilliant 'Art of Deception', which takes no prisoners in the first half with its high speed drumming and riffing, and you got the situation. This track is also a loose sequel of the debut song 'The Great Deceiver', given the lyrical theme and the clever nod in the first verse... and both are maybe the best songs in their respective albums.

Side B, and we're at it again: we start with 'Ilona Had Been Elected' which is one of the most interesting songs on here. Despite being another track dedicated to Ilona Staller, this has a more serious aura, based on her election as a member of the parliament and the subsequent harsh criticism she had supposedly faced at the time. Amazing chorus and tempo changes, as well as intense lyrics ('Tonight, the witch has been recalled/Returned to shock the world'), though the point of view of AC Wild emerges clearly. Passing then through 'Impotence', which addresses sexual themes and it's not unlike 'Misogynists' off the previous album, and 'Mors Tua - Vita Mea', with almost black vocals by AC Wild and powerful double bass by Rob "Klister", we get into the most fitting epitaph for both Neurodeliri and Carria: 'Willful Death / You'll Be Recalled'. A truly majestic song, split in two very different parts which somehow perfectly build one single, desperate last ode to AC's and Andy's lost companion. In Panigada's words, the reprise of the intro at the end of the song is meant to symbolize Carria's final voyage to the underworld. Chilling.

Unfortunately, my final impression is that Neurodeliri has higher highs than IX, but also lower lows: the longer songs are perfect and among their best compositions to date, helped by the clinical coldness of the good production, but some of the others leave something to be desired. I don't know why, probably this time the band has inevitably built a bigger contrast between the humorous songs and the serious ones, and at worst the former feel very slightly out of place and a bit too short, instead of blending in a single, awesome mass of belligerent riffing, sex jokes and political critic like the previous album did perfectly. The fact it's even shorter, and it doesn't reach half an hour, doesn't help. We could have been talking about the undisputed masterpiece of the Bulldozer career, but I feel IX still works better as a whole.

In any way, the rating I gave it should convince you that this is clearly a work of art, and that I love it way more than it may seem upon this last paragraph. This is how Bulldozer bade farewell to all of us, faithful listeners, the evidence of their full potential, the swansong of a unique band. Just listen for yourself, and feel the magic pouring out of it. Just, don't expect each and every song to be a total winner.

You can also find this review on MetalBite.com.

"Neurodeliri" celebrates its 30th anniversary. (Somehow shocking, isn't it?) To be honest, I always liked the album with the strange artwork, but it seemed as if I were almost the only one - at least in Germany - who enjoyed Bulldozer's fourth full-length. As already mentioned in the "The Day of Wrath" review, the published opinion had nothing better to do than to bash the Italians permanently. In particular the here presented effort did not deserve such a treatment. "Neurodeliri" has a very individual aura. Frankly speaking, I do not know a comparable album.

One reason for the uniqueness of the pretty short work is its somewhat sticky, pretty blurred sound. I do not listen to a demo, but differentiation and clarity have been completely irrelevant during the recording sessions. The album does not sound very organic, but the machine on the cover is no natural organism as well... Another special feature is contributed by the keyboards. Of course, to use this instrument is usually not overly original, but I still wonder why a thrash metal band with an underground attitude decided to integrate keyboard lines in its sound. Even more surprising, they take the lead from time to time. But this does not mean that Bulldozer suffer from confusion. The coherently designed keyboard melodies deliver a dark aura and remind us of the fact that the trio was labelled as a black metal band in the first days of the group's existence. Nevertheless, the musical approach has not much in common with that of the pretty awkward debut. "Neurodeliri" is more melodic, but not lackadaisical. In particular tracks such as the straight, fast and direct "Minkions" or "Mors Tua - Vita Mea" make clear that the formation still likes to swing the hammer. However, they are not the most impressive songs. Bulldozer have also penned crude thrash metal operas. This sounds spooky, I know, but I have no more precise description.

The opener and the closer surprise with almost bombastic lines that do not match the usual thrash approach. Bulldozer don't care. The unpredictable musicians honour a former band member who has committed suicide and therefore it is time for great feelings. But don't worry, the dudes are erratic enough to deliver another shabby porn star anthem ("Ilona Had Been Elected") and a capricious ode to their home country. "Neurodeliri" does not reach the 30 minutes mark, but Bulldozer have pressed their whole portfolio into this narrow time frame. Even intimate topics like impotence are addressed and, of course, this approach promises sophisticated lyrics. Be that as it may, the album does not suffer from inconsistency. Already the unusual sound lends the songs a common bond. Additionally, I have no reason to lament with respect to single songs - all of them have something to say. The instrumental part of "Art f Deception", for example, sounds like an homage to Jon Lord (R.I.P.). It's clear to see that these slightly crazy Italians know no reservations.

It is a pity that Bulldozer never published a worthy successor for "Neurodeliri". Quite the opposite, they went techno and even "Unexpected Fate", their metallic output from 2009, 21 years after the release of the here reviewed work, cannot hold a candle to songs like "Mors Tua - Vita Mea" or "Neurodeliri". What remains is a hotchpotch of feelings such as anger, aggression, lust, fun and melancholia. As mentioned above, a very individual vinyl - and it has withstood the test of time. Highly recommended for everybody with an affinity for totally autonomous albums.

Boy, what a sweet find! I stumbled upon this at a local used CD store, and I'm sure glad I did. At first (mainly because of the album cover) I expected generic 80's thrash. I had a few other Metal Mind reissues and they are all decent to extraordinary, so I decided to give this one a shot. A good decision indeed. I find this album difficult to describe, but it is mainly thrash with a very prominent streak of black. But mostly this needs just needs to be heard, not discussed.

You're started off with some eerie keyboards on "Overture/Neurodeliri" but before you know it blackened riffs start ripping your eardrums apart. Accompanied by some tortured vocals teetering again in black metal territory. Some of this stuff brings older Bathory to mind. This album is jut chock full of awesome riffs and sweet solo's. Nothing seems overdone at all. Some people may find the keyboards out of place, but they are used sparingly and I think they fit the music just right, hell, they're kind of epic. I think the length is perfect. No forced sounding filler, and it moves along at a great pace, mostly mid to up tempo with a couple crawling sections. They have a great sense of humor, too! Just read the lyrics for "We are... Italian".

No particular highlights. It's short enough and good enough to be listened to straight through almost every time.

But... If you get the Metal Mind reissue... beware. The bonus track is from an EP they collaborated with some rapper on, and it's god awful. Keep in mind that this is not part of the original track listing. It's a little funny, but mostly just something to be ignored.

All in all, a gem of a thrasher. Highly recommended for fans of any genre of extreme metal.

Just like its predecessor ‘IX’, ‘Neurodeliri’ offers plenty of sharp riffs, fantastic lead-guitar work, frantic (but sterile sounding) drums and vocals that can best be compared to a hoarse and angry Lemmy. Much of this album is fast as hell, and some riffs and parts, especially on the opening track ‘Neurodeliri’, nearly sound like modern 2nd wave Black Metal (but played by a Thrash Metal band of course). The band also uses keyboards on several of the tracks, never sounding cheesy or drowning the other instruments, but adding a somewhat epic feeling to the music. Keep in mind this was recorded in 1988, when the use of keyboards was rather unusual in Thrash Metal (or Metal in general), at least in this measure. Strangely, some parts on ‘Neurodeliri’ someway remind me of Bathory’s ‘Under the sign of the black mark’, even when these two albums have a very different sound and style. Maybe the reasons for this are the use of keyboards and the fast, sometimes nearly blastbeat-like speed of the drumming, both uncommon in the 80s. One thing that can also be discovered when listening closely to ‘Neurodeliri’ is that it has a kind of solemn feeling to it, unlike their previous albums (especially the first two), which had a kind of ‘fun, rock n’ roll & drinking’ feel to them, like the one present on many old Venom tracks. The fact that ‘Neurodeliri’ is dedicated to their former member Dario Carria, who committed suicide shortly before the recording of this album (and who formed the band Neurodeliri some years after leaving Bulldozer), may be a reason for the more earnest mood of this album. The track ‘We are italian’ is the exception and offers ‘good-time, beer raising and headbanging’ mid-tempo Thrash Metal with a chorus to scream along with (if you are italian…).

Neurodeliri was Bulldozers last studio-album, and given the undoubted high quality of it and of all their previous albums, one might ask himself why they never really achieved more than just a certain cult status. The reason is probably that Bulldozer were never keen on success and popularity, as they never compromised about their sound when most other Thrash Metal bands wimped out or changed their style at the end of the 80s when Thrash Metal became less popular (even if they released a really bad single with a NY rapper in 92). Whatever, for fans of really well-played, original Thrash Metal, ‘Neurodeliri’ (as well as the other Bulldozer albums) is a must.