...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...



..::OPIS::..

Bardzo emocjonalny, szczery przekaz!
Na swój sposób różnorodny, świetnie wyprodukowany album!
WSPANIAŁY!!!



Doom as a genre is incredibly varied and rich. From the first strains of Sabbath's debut to the thundering fuzz of Electric Wizard or Sleep, the genre is perhaps older and more varied than any other in metal. With such a legacy and such a back-catalogue, it can be hard to see how a new band can continue to innovate and create new and interesting music. I mention this only because Dautha have managed to do exactly that. In an age where the major trends in the metal scene are regressive, with many bands both in the mainstream and the underground attempting to evoke the sound of classic 70s or 80s metal, Dautha have managed to inject a new element into their thunderous, stately, epic doom metal: folk.

From the crunchy opening guitar of the first track, "Hodie Mihi, Cras Tibi", it is clear that this is that rarest of treasures: a band with a strong, clear vision. Folk melodies infuse the track at its chorus, backed by a violin that slides insidiously into the mix before giving way to relentless drums and slow, doom soaked riffs. The vocalist is incredible, at times soaring over the instrumentation, at times so crushing that he seems to speak from within the earth itself: a suitable place for a band so preoccupied with death and decay. The band's self-described "bubo-nostalgic" sound continues with the crawling, thundering title track, which sprawls delightfully over 15 minutes of darkness, sorrow and, most of all, doom. With vocals alternating line-by-line from soaring to a distorted voice that seems to echo from a death-haunted crypt, building, dreamy guitar riffs and a climax that rests the entire song on a fragile choral melody, this track is a true masterclass in songwriting.

The folk elements are present throughout. From the clear influence of folk on the melodies in "Hodie Mihi, Cras Tibi", to the ominous thrumming that closes out "Maximinus Thrax", to the neofolk-inspired closer "Bogbodies", this is an album that knows its folk roots as well as its doom metal ones. And indeed there is no shortage of Dautha's unique yet familiar brand of epic doom. The distorted, maze-like riffs evoke the unreachable grandeur of Epicus Doomicus Metallicus, and in my opinion the vocals measure among the best in the current epic doom scene. The riff in particular towards the end of "Maximinus Thrax" is worthy of special praise, building up in front of a growing wall of fuzz and spiraling outwards to an ominous conclusion while the vocalist delivers some of his best work on the album.

An entire review could be written just for "The Children's Crusade". Opening with a children's choir, the track tells the tragic tale of the children who, prompted by God-given visions, marched on Jerusalem in the wake of the failed crusades of the 12th century. The influence of folk is clear again here, especially in the subject matter, which was addressed by criminally underrated medieval-folk heroes The Moon Lay Hidden Beneath a Cloud (track two on their hard-to-come-by EP Yndalongg) in a similar manner, with the ultimate, doom-soaked implication of both being that the ill-fated crusade was inspired not by the divine, but by the Devil himself.

This song perfectly typifies Dautha's sound and approach. Their songs are anthems for the doomed and the dispossessed, drawing on dark, medieval imagery and folk-inspired rhythms that run to the core of those feelings of doom, a core which, they seem to say, has remained unchanged through all the ages of war and plague separating us from this album's tragic subjects. There is nothing wasted or overused here. Each song is precisely as long as it needs to be - nothing could be cut out, nothing added. Each concept is fully developed and spun out for exactly as long as it needs to be.

There is simultaneously much more and absolutely nothing else to say about the album. Each track stands on its own, and yet in the context of the album, each perfectly builds on its predecessors and leads into the next. By the time we reach the crawling, desolate strains of the last track, "Bogbodies", the album really does feel like it is sinking into the black mire of some primordial bog - and dragging us with it into the grim depths of the past.

Records with a historical bent often run the risk of being overly circumspect, focusing on the broad strokes of history, while forgetting that, for most of the human race, the ages of Kings and crusades were dark times of hard toil and difficult labour. Dautha remember this fact. Folk is the domain not of cheerful songs, but rather of dark music, written by poor people in hard times, and you will find no truer expression of this fact than here. In a manner of which Black Sabbath, themselves coming from the poverty-stricken steel-mills of Birmingham, would be proud, Dautha's epic masterpiece connects us to the past while at the same time hinting at new ground to be broken in the future of doom metal.

saturnschild



..::TRACK-LIST::..

1. Hodie Mihi, Cras Tibi 08:00
2. Brethren Of The Black Soil 15:39
3. Maximinus Thrax 07:36
4. The Children's Crusade 11:39
5. In Between Two Floods 07:45
6. Bogbodies 06:49



..::OBSADA::..

Violin - Åsa Eriksson
Vocals - Lars Palmqvist
Bass - Emil Aström
Drums - Micael Zetterberg
Layout, Guitar, Lyrics By - Ola Blomkvist
Lead Guitar - Erik Öquist





https://www.youtube.com/watch?v=uuLva_bx8Dw



SEED 14:30-23:00.
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