A Passage for Lost Years

Varaha may have achieved something special. “A Passage for Lost Years” is profound work, lush with memorable songwriting and a style through which ingenuity prospers. Varaha is in a league of its own. They take nods from several notable bands yet configure their blueprint to be its own expansion rather than a tribute. An album taking the gothic and depressive nods of Katatonia, Tiamat, the somber side of Swallow the Sun, and an orchestra, all of which is painted across a pulsating, yet bleak canvas, is no small feat, especially considering its seventy-minute running time. Varaha’s work is imposing and thoughtful, pulling together stellar arrangements of doom/gothic brilliance. “A Passage For Lost Years” knocks on the door of becoming a monumental achievement.

Pinning down how this sounds is both simple and tricky. Varaha contrasts clearly with Katatonia, as the depressive doom metal/gothic themes are its creative source, yet it almost sounds as though “A Passage for Lost Years” is the next logical step in that direction. It is difficult to articulate what that means, but it seems appropriate. The tracks are really detailed yet melodic, making stellar use of lead guitar melodies, once again echoing Katatonia, and maybe stretching to October Tide territory. I pick up on flares of black metal tremolo riffs hovering above a few tracks, although these are never a driving force. Varaha’s rocking gothic sections tip to the scales of Paradise Lost, although the atmosphere and pacing set up a likeness to maybe 40 Watt Sun. The vocals are clean and harsh, both sounding excellent and contributing to the forlorn ambience. The riffs remind me again of Paradise Lost or Katatonia, big on doomy sections and accessible chord sequences, yet acting more as parts on which the atmosphere can further develop.

An orchestra was utilized for interludes and the album’s closing number. Most bands flounder this tool and wildly misuse its majesty, but the guys in Varaha have it figured out. The orchestral bits are absent in all but one of the actual tracks, yet they serve to enrich the mournful atmosphere when called upon. The interludes, though, are fantastic. The movements and orchestrations are conducted uniquely; one song is heavy on brass instruments, and it isn’t the usual metal-band-gets-orchestra stuff you hear these days. I can tell there was actual thought and care put into how the orchestral pieces would supplement the band’s approach, and it resonates clear as day. “A Passage for Lost Years” segues from song to interlude without pause; the same idea also occurred on Tiamat’s “Prey,” for reference. It isn’t pretentious or hamming it up despite having the keys to that car and the ability to drive it; this is a rare example of an album stuffing in interludes and additives that benefit the final product.

The best part of the album is running it down from start to finish. Metal and orchestra pieces transition fluidly, moving between each other as though one and the same; lead guitar melodies make proper use of repetition and entrance the listener in their illustriousness; and the group summons its aura and keeps it enriched throughout. Varaha’s debut record is outstanding stuff. The way the album articulates its detailed, emotional numbers is just extraordinary. I’ve been listening to it for weeks and I’m still enamored by its raw passion, sweeping melodies, and unforgettable atmosphere. What we have is a record blazing its own path, yet not forgetting the faces of its influences. That is, after all, what fantastic bands do best.

This review was written for: www.Thrashpit.com