Track By Tracks: FALLING GIANTS - Whirlwind Hymns (2023)

1. Where the Desert Collide:

Northwest Passage is an intro made by our previous guitarist Pest with a cold dark sound ambient. This song comes from our first produced stuff pre covid. It has changed a lot of times until we were satisfied. A mix of Candlemass-que doom and hardcore stuff that ends with an open and moody passage. When people know themselves, sometimes, in particular nowadays, it’s a meeting of deserts. Endless dust-scorched nothing talks to nothingness, a fake dialogue sustained by a false tech through.

2. An Enveloped Prophecy:

This is a song that we are very proud of since it’s a more mature offspring (composed during Covid period). It starts with open blackness coming through and sending the listener in a twisted and enveloped mix of Stoner, sludge, black metal classics and returns to the open wide. The main inspiration comes from the cowardice of ego, a continuous mask ballet that nurtures our idea of destiny and we follow self-constructed idols which we think to be our prophecy. They’re nothing more than ourselves leashed to Sysiphus stone. The greatest awe comes from the deliverance of Ego, which is “Fear in a handful of Dust”, an homage to Eliot’s The Waste Land.


That’s another track whose origin is lost in the midst of old arrangements. It has changed a lot from time until this final shape. A calm ascending to the storm unleashed sonically speaking. It should put the listener into the mood of a man who thinks about himself and whose certainty shatters. A platonic Republic will end in Hope, and to hope is to dive.

4. Fall Meditation:

Another pre-composition that shows another side of us. A crusty/black/death start raging in fury, will slow down to a melancholic and meditative doom. The idea which arose in us was: How deep do you meditate on the fall? Humans are like giants fallen from heaven, they’re trying to recover lost wisdom. Meditation in nothingness is our purgatory and our renewal.

5. The Wind Shifts:

This song has been born from the text, which is a Wallace Stevens’ poem. After a while a meditating on it, like a perfect falling giants’ lyric, we had the idea to try a 7⁄8 time signature to give it an enigmatic turn and an open never-ending loop of psych. Harmonium, an air organ instrument, is the conveyor of human-like conditions, a mix of instinct (air) and intelligence (organ).

6. To Paint the Woes:

That’s our crazy concentrate of influences gathered all together. Coming to the industrializing intro, galloping Stoner riffs, raw black mid, and alternative conclusion. A wild storm of ideas with a hazard to connect them all. The lyrics are a translation of the first speech on Pupi Avati’s The House with Laughing Windows.

7. The Trail of Dust Men:

That’s our final track, the latest composed and we thought it should have been the most doom of all. An epic slow, a giant riff arrival with scorching storms of Armageddon. It pauses a bit and returns with other war riffs and drum battle ensembles. The main idea is based on our territory, on their ancestors. Marche region was a mix of Greek, Roman, Celtic, and preItalic cultures. This song is an imaginary dialogue between Flaminius, the last defender of Rome, and Brennus the first conqueror of Rome. This song revolves around the clash of Roman civilization, representative of the strength of knowledge, law, and organization, against the barbaric Celtic civilization, representative of the strength of freedom, courage, and natural mysticism. Both of them are the old heart of Europe.

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