Fury'n'Grace - A short history of decay

Fury 'n' Grace
- in the persons of Christian Grillo, Gabriele Grilli, Matteo Carnio and Emiliano "Kiske" Bertossi -
outlived our expectations.

Started in 1994 like a dream of mirrors and childhoods, it turned out to be a lucid nightmare - that involved also, in its early years, Lorenzo Bassignani, Alessandro Del Vecchio and Stefano Di Garbo; a project in which our musical research was proportional to our sinking.

Being involved in such (aesthetical and ethical) process meant that our "moving" choices in Art had to coincide with our lives. Drawing nourishment from our more intimate cracks and personal disorders, we eventually reached a point of no return.

Blessed with twelve years of mortifications (a couple of unpublished albums -"Madrigal - Mephisto's Waltz" 1998, "Inferno" 2003-, psychophysical health-threatening side projects -that ironically reached publication-, dealing with producers and anti-aesthetical gentlemen who agreed with existence and handle its "sense" as if they're very comfortable with it) Fury 'n' Grace is now ready to shape (in both live and studio contexts) into a new monster its scariest incarnation.

A twisted experience of Unheimliche where we hide to disappear, for a moment, through fury, to the grace of Inorganic.

Our research has no commercial appeal -we definitely do not write for a public or to produce sense: we never started from concepts¹. We have nothing to do with understanding² and we are not interested in communication, criticism and interpretation. Aware of our fire we only stare, become pure contemplation, and burn.

Without Fury 'n' Grace everything will go on and will be as sad and gratuitous as before. We are not available. And we are not here to stay.

(...) For that which was not -for that which had no form-for that which had no thought-for that which had no sentience-for that which was soulless, yet of which matter formed no portion-for all this nothingness, yet for all this immortality, the grave was still a home, and the corrosive hours, co-mates.³

¹ "(...) On the other hand imitators, mannerists, imitatores, servum pecus, in art start from the concept. They note what pleases and affects in genuine works, make this clear to themselves, fix it in the concept, and hence in the abstract, and then imitate it, openly or in disguise, with skill and intention. Like parasitic plants, they suck their nourishment from the work of others; and like polyps, take on the colour of their nourishment ." A. Schopenhauer - Die Welt als Wille und Vorstellung (book 3 : § 49)

² "On the question of being understandable - One does not only wish to be understood when one writes. One wishes just as surely not to be understood. It is not by any means necessarily an objection to a book when anyone finds it impossible to understand: perhaps that was part of the author's intention - he did not want to be understood by just "anybody". All the nobler spirits and tastes select their audience when they wish to communicate; and choosing that, one at the same time erects barriers agaist "the others". All the more subtle laws of any style have their origin at this point: they at the same time keep away, create distance, forbid "entrance", understanding, as said above - while they open the ears of those whose ears are related to ours." F. Nietzsche - Die fröliche Wissenshaft (book V : § 381)