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There's no waiting around for anything to grow on here. No need to mourn a riff or a melody not fulfilling its potential.
From the very first seconds of aptly-titled "Cathedral", a regal, majestic lick leads to riff-work akin to a breathtaking stained glass window, a prayer frozen on its way to metal heaven and the listener's heart. Daylight Dies have indeed perfected their craft, a shimmering, beautifully constructed dialogue between massively crunchy rhythm guitar and soaring, harmonic lead punctuations and solos that are so precise the whole thing seems weightless - not as in "not heavy", mind, but in the sense of the purifying letting go of life itself, a final, powerful sacrifice. A beautifully tragic holy ghost - that of a virgin suicide. Daylight Dies' fourth album serves as a bid for a seat in the pantheon of the giants of melodic, gothic death doom metal. But this is more than a nod or a tribute to the titans, because Daylight Dies weave disparate influences from different eras to a whole that sounds instantly classic and fresh all at the same time. Imagine the sound of contemporary Katatonia, the might of mid-era Paradise Lost and the vocal delivery of early Opeth - the sublimely soaring spiked with muscular primitivism. The package is consistent throughout. "Lost to the living" feels like a singular entity, flowing like some alchemical, mercurial sermon. The songtitles - "A portrait in white”, “And a slow surrender” - are as descriptive of the sound as they are of the content. The newish frontier of clean vocals presented on “Waked up lost” and “Lost alone” are more than welcome and can easily be imagined working as gloriously within the context of the heavier compositions.
Let us pray.