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| #FOR FANS OF: Post Black, Wolves in the Throne Room |
Drudkh's first full-length album since 2015 shows a band shaking off the frost of an unforgiving winter with a fresh tumult that leaves trees shuddering and strings screaming, quaking the earth with a monstrous sound lurking high above the timbers and swaying in the winds. Moments of fury erupt from clay and rocks as each appendage of this Ukrainian quartet strives to elaborate on specifics in its style while maintaining its consistent overall quality in engaging atmosphere and mesmerizing cycling, a gigantic gallop of the forest's foremost advocate embodied in a titan of black metal artistry. A motif of decay and resurrection has been a mainstay of Drudkh's songwriting throughout its fifteen year career, best exemplified by sullen guitar passages that reach their solstices in hateful highs before returning to depressive drawling lows as they recycle and replant their roots. Yet it is in the blends and blotches that Drudkh finds its most uncorrupted cultivation, a dreamlike blur that seems improvisational but is actually a carefully approximated sound, something where a contributing moment may seem muddled and misshapen but applies itself as a perceptibly necessary attribute into the larger scheme.
Near the second half of “У дахів іржавім колоссю... (U Dakhiv Irzhavim Kolossyu…)”, the drums kick up with a tantalizing blast beat as a backdrop of heaving guitar trills to the tone of a lonesome bird calling out for a companion. The lead sawing across the top shreds bark and sinew with the dull patter of a distant woodpecker following such violence. Blast beating comes with the frequency of clouds during a blustery summer day, the wind high in the atmosphere as shade darkens the sun and quickly passes by to bring back Sol's full intensity. Such captivating landscapes are painted in meditative and calculated brushstrokes, as though the mixtures of colors and blending definition of impressionist painting is lent its own audible backdrop, a prominence in this gallery of sound delightfully shown in the final pieces on the album. “За зорею, що стрілою сяє (Za Zoreyu Scho Striloyu Syaye…)” blows winds of a familiar anthem, the crisp air of autumn reprising its role in contrast to spring, conjuring the swift streaks of oranges and yellows in Monet's “San Giorgio Maggiore at Dusk” in order to share in the theme of 'The Swan Road' or 'Autumn Aurora'. “Білявий день втомився і притих (Bilyavyi Den’ Vtomyvsya I prytykh… )” brings a signature scramble to its precipice with sawing guitars, shrilly screaming through banks of foggy distortion and blending, calling out through the morning mist in primitive mention of Monet's “Impression, Sunrise” to raise a fresh levy of barbarian warriors, echoing goodbyes across placid waters walled in by rising rocky cliffs. The quiet melody of the lead guitar longingly mires its melancholy footing in the sopping mud of a springtime low tide. As the boat disappears in the distance the sun begins to burn off the fog, opening the cloistered world to the beauty of expanse, the allure of adventure, and the hope of a successful raid and lucrative future.
'Їм часто сниться капіж (They Often See Dreams About the Spring)' is Drudkh elaborating in all the right places while sticking to its tried and true formula. The heady atmosphere blending blotches of noisy notation, imposing and transfixed on the spirit of nature, can find itself falling into the background of the mind at times, but always returns to a path that fiercely draws attention to itself in the right moments. Giving sound to an already muddled style that captures the eye when closed and the mind when dreaming, Drudkh has always maintained a soft spot for impressionist art, providing tangible texture throughout its lower fidelity career. With the cleanliness of its production throughout this latest foray into a stand-alone full-length, the band has smoothed out its canvas while providing a more vibrant color palette for its digitized display. (Five_Nails)
Near the second half of “У дахів іржавім колоссю... (U Dakhiv Irzhavim Kolossyu…)”, the drums kick up with a tantalizing blast beat as a backdrop of heaving guitar trills to the tone of a lonesome bird calling out for a companion. The lead sawing across the top shreds bark and sinew with the dull patter of a distant woodpecker following such violence. Blast beating comes with the frequency of clouds during a blustery summer day, the wind high in the atmosphere as shade darkens the sun and quickly passes by to bring back Sol's full intensity. Such captivating landscapes are painted in meditative and calculated brushstrokes, as though the mixtures of colors and blending definition of impressionist painting is lent its own audible backdrop, a prominence in this gallery of sound delightfully shown in the final pieces on the album. “За зорею, що стрілою сяє (Za Zoreyu Scho Striloyu Syaye…)” blows winds of a familiar anthem, the crisp air of autumn reprising its role in contrast to spring, conjuring the swift streaks of oranges and yellows in Monet's “San Giorgio Maggiore at Dusk” in order to share in the theme of 'The Swan Road' or 'Autumn Aurora'. “Білявий день втомився і притих (Bilyavyi Den’ Vtomyvsya I prytykh… )” brings a signature scramble to its precipice with sawing guitars, shrilly screaming through banks of foggy distortion and blending, calling out through the morning mist in primitive mention of Monet's “Impression, Sunrise” to raise a fresh levy of barbarian warriors, echoing goodbyes across placid waters walled in by rising rocky cliffs. The quiet melody of the lead guitar longingly mires its melancholy footing in the sopping mud of a springtime low tide. As the boat disappears in the distance the sun begins to burn off the fog, opening the cloistered world to the beauty of expanse, the allure of adventure, and the hope of a successful raid and lucrative future.
'Їм часто сниться капіж (They Often See Dreams About the Spring)' is Drudkh elaborating in all the right places while sticking to its tried and true formula. The heady atmosphere blending blotches of noisy notation, imposing and transfixed on the spirit of nature, can find itself falling into the background of the mind at times, but always returns to a path that fiercely draws attention to itself in the right moments. Giving sound to an already muddled style that captures the eye when closed and the mind when dreaming, Drudkh has always maintained a soft spot for impressionist art, providing tangible texture throughout its lower fidelity career. With the cleanliness of its production throughout this latest foray into a stand-alone full-length, the band has smoothed out its canvas while providing a more vibrant color palette for its digitized display. (Five_Nails)
(Season of Mist - 2018)
Score: 75
https://drudkh.bandcamp.com/album/they-often-see-dreams-about-the-spring
Score: 75
https://drudkh.bandcamp.com/album/they-often-see-dreams-about-the-spring