DAYLIGHT DIES

Lost To The Living

Candlelight/ CD

While I’m listening to North Carolina doomsters’ third, full-length album my thoughts instinctively float back to the early 90’s. Those were the times when I discovered the beauty of such a classics like „Gothic”, „Clouds” or „Turn Loose The Swans”. It was something new, fresh and inspiring. In 1995 MOONSPELL’s mighty „Wolfheart” sealed the triumph of melancholic, dark and romantic metal. Soon after that – like many other genres – doom/death sunk into the depth of repeatibility and affectation. However some of the 90’s top bands still deliver top quality music, it’s quite uneasy to mention only few interesting newcomers that may be potentially as influential as their glorius forerunners. So without any doubts – in such unfavourable circumstances - DAYLIGHT DIES seems to be one of the genre’s biggest hops.

First of all the quality of their atmospheric songs justifies that view. Sad melodies slowly flow through the room, while solid and raw Nathan Elis’ voice leads us through the grey world of lost love and suicidal tendencies. I’m sure that I’n not the only one person who would compare his work with Mikael Akerfeldt’s tone. Sometimes he sound like Opeth’s frontman lost twin from the paralel universe. Even when band’s bassist Egan O’Rourke sings with a clean voice in „Wake Up Lost” and „Last Alone” it’s hard to ignore Akerfeldt’s heritage. The music itself also owes a lot to the early Opeth. Delicate, acoustic passages and multi-layered tearful guitars - those are distinctive elements taken from Akerfeldt’s closet. Sometimes the atmosphere of hopelesness reminds me of KATATONIA’s „Brave Murder Day”. And for sure it’s not a disadvantage. I must admit that crystal clear sound – the stuff was mixed by Jens Bergen (OPETH, KATATONIA) – makes those comparisons much stronger. Nine songs – lasting from five to eight minutes - create consistent album where doom show it’s more gentle face. It’s not as depressing as monday morning and not as gloomy as lack of beer. It’s contemplative and soulful. Perfect soundtrack to long autumn evenings. What’s the most important we have quite mature approach here. This is elegant and dramatic. And it’s for you if you’re familiar with old PARADISE LOST, OPETH and KATATONIA.

8/12