Lost to the Living reviews.
- Thread starter jesse
- Start date
circus_brimstone
Forest: Sold Out
egan.
daylightdies.com
Terrorizer
8/10
There's no waiting around for anything to grow on here. No need to mourn a riff or a melody not fulfilling it's potential. From the very first seconds of the aptly-titled opener '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. 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 at the same time. Imagine the sound of contemporary Katatonia, the might of classic 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', 'A Subtle Violence', 'And a Slow Surrender' -- are as descriptive of the sound as they are of the content. The newish frontier of clean vocals presented on 'Woke up Lost' and 'Last Alone" are more than welcome and can easily be imagined working as gloriously within the context of heavier compositions. Let us pray.
8/10
There's no waiting around for anything to grow on here. No need to mourn a riff or a melody not fulfilling it's potential. From the very first seconds of the aptly-titled opener '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. 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 at the same time. Imagine the sound of contemporary Katatonia, the might of classic 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', 'A Subtle Violence', 'And a Slow Surrender' -- are as descriptive of the sound as they are of the content. The newish frontier of clean vocals presented on 'Woke up Lost' and 'Last Alone" are more than welcome and can easily be imagined working as gloriously within the context of heavier compositions. Let us pray.
egan.
daylightdies.com
GameFreac
The Derminator
Katatonic89
Member
Hmm I've had a change of heart regarding the new CD. At first I thought it was nothing special but now I really like it. I will order a CD+T-shirt when I get some money.
Rich - Rannoch
Member
Zero Tolerance:
5/6
After the widespread critical acclaim of their last album, Dismantling Devotion, one could perhaps expect some resting on laurels from Daylight Dies. One would be horribly wrong. Having just been on tour with Candlemass no less, North Carolinas most mournful of sons have carved a monumental slice of harsh melancholy that harks back to Katatonias early period in its organic nature and dissonant rhythms and yet builds on this with the introduction of progressive rock elements, including Dave Gilmour-style clean vocals. Lyrically focusing on the time we lose to lifes menial tasks and day-to-day boredom, Lost To The Living oozes genuine sorrow, given texture by acoustic strings and woodwinds. There is an undeniable similarity to Swedens Opeth, made more apparent by the fact that they used the same producer, Jens Bogren at Fascination Street. The overall atmosphere achieved by Daylight Dies, however, is more miserable and dreamlike, and the progressive elements less prominent and per chance a tad less muso. The highlight is album closer This Morning Light, a stunningly poignant, brooding masterpiece that brings proceedings to a devastating close.
5/6
After the widespread critical acclaim of their last album, Dismantling Devotion, one could perhaps expect some resting on laurels from Daylight Dies. One would be horribly wrong. Having just been on tour with Candlemass no less, North Carolinas most mournful of sons have carved a monumental slice of harsh melancholy that harks back to Katatonias early period in its organic nature and dissonant rhythms and yet builds on this with the introduction of progressive rock elements, including Dave Gilmour-style clean vocals. Lyrically focusing on the time we lose to lifes menial tasks and day-to-day boredom, Lost To The Living oozes genuine sorrow, given texture by acoustic strings and woodwinds. There is an undeniable similarity to Swedens Opeth, made more apparent by the fact that they used the same producer, Jens Bogren at Fascination Street. The overall atmosphere achieved by Daylight Dies, however, is more miserable and dreamlike, and the progressive elements less prominent and per chance a tad less muso. The highlight is album closer This Morning Light, a stunningly poignant, brooding masterpiece that brings proceedings to a devastating close.
Thank you for posting that, I'd been looking for that review for a while. Still looking for the Metal Hammer and Kerrang reviews if anyone has seen them..
MadTinus
Language enthusiast
Not a review, but your interview was published in the new issue of Aardschok that I received last Saturday. I'll send you a photo of it later.
Katatonic89
Member
MadTinus
Language enthusiast
Hmm, quite a lousy review, I somehow can't stand it when reviewers don't have their facts right (4th full-length album, "Lost Alone" etc..). I mean, that's the easy part, just read f.f.s... Good thing the album convinced him after his initial 'bad' impression from seeing you live (very hard to fathom how one could possibly get a bad impression about DD from that, but OK...).
Katatonic89
Member
salient
Moment of solace
Great seeing things like that "Portrait in the white"! Perfect album of the year, like stronghold who's strenght never ran out. Special surprize for die hard fans of Daylight Dies, Katatonia, Anathema, Opeth and e.t.c.
P.S Similliarity with magic of dark and beauty melancholy.
P.S Similliarity with magic of dark and beauty melancholy.
Metalrob4662
Defender of the Faith
I've had the new album for a few weeks now....and I'm loving it.
Seems to grow more and more on me.
Seems to grow more and more on me.
