So I am guilty reviewing Thy Catafalque latest Naiv only now, given that the album came out very early in 2020. Yet, as a MetalReviews resident Thy Catafalque reviewer I want to avoid committing an even bigger sin, missing a Thy Catafalque album review altogether, something that happened to me with Geometria. Yes, even me, a big fan, I sometimes simply miss things. Given all the praise and success Thy Catafalque garnered over the years, Tamas Katai’s project continues maintaining low marketing profile. With Geometria now remaining on the list of rectification projects, at least I thought I’d voice my opinion of Naiv before it becomes irreparably late.

Even setting out to write this essay I had a bit of a mishap. Having formulated my opinion a few weeks ago, I have lost my notes on Naiv, the type of quick notepad scribble I customarily collect. This fact became a blessing in disguise as Naiv spent even more time in my player and, as a result, continued revealing new additional aural planes of enjoyment and brain tickling. Sixteen years of me knowing about Thy Catafalque existence and five albums later in my collection, I am excited to report, at least from my personal standpoint, that the project continues to innovate, surprise, reveal and mesmerize. Thy Catafalque is akin to a musical narcotic for me. I can’t get enough of it, regardless of what others think of my addiction.

When A bolyongás ideje opened with a harsh black metal riff, before sliding into a polyphonically layered number of mood shifts, from blasting to levelheaded rhythms, from soft female voice to roaring male screams, I thought that Naiv would be that weird delightful phantasmagoric dream, but with an angrier edge, like Zgurr. That turned out to be not the case. Instead, Naiv is probably one of the most accessible Thy Catafalque albums, very folky in spots, focused on shorter songs which never overstay their welcome, longest being 8+ min Vető. The variety of veins and dispositions throughout the album is amazing, whether they happen within a single song or present the whole of Naiv as one always revolving kaleidoscope. Tsitsushka, beginning with infectious rhythms, slides into jazzy character, aided by a snappy base line and authentic brass sounds. Tsitsushka takes Thy Catafalque from Ecama (Didier Marouani)/Jean-Michel Jarre to jazz/ska and back, and it is only a small part of the journey Tamas Katai takes. Kék madár (Négy kép) invites us to Carpathian Mountains and string picked Gutsul dances, with its sopilka/flute accompaniment, before crashing into a vast endless plane. Embersólyom also had a folky feel b/t piano & flute, a sensation of standing in a steamy meadow on a mountainous plateau (further confirmed when I saw a video for the composition). From gentle and dreamy to tough, A valóság kazamatái is a dense industrial slam (with a serene cosmic middle), full of harsh vocals and Anaal Natrakh pent up energy. Same with the closer Szélvész, after a soaring, life affirmative first half. Longer Vető opens and closes with a heavy crash, almost grinding and doomy disposition, allowing the middle to cover territory from a tribal beat, folky touch, followed by techno beat and characteristic Thy Catafalque synth worm buzz I love from the days of Tuno Ido Tarlat.

Thus alternating forceful and dreamy proceeds Thy Catafalque, exploring its own world of synth slides, infectious rhythms, unexpected instrumentation and exquisite melodies. Nothing new from this band, yet original and innovative. A constant draw worth undivided attention and admiration.