Armenian funeral basically corresponds to two single individuals, namely Franklin Avetisyan with his recent Eyeless In Gaza and, above all, Vahe Soghomonyan, who with the prolific and relatively well known Sadael was the first to try his hand at funeral in the parts of Yerevan. Vahe, with his band run almost entirely on his own, has authored a large number of releases among which are counted no less than thirteen full lengths and more or less as many smaller releases including ep’s, split albums and singles. What is peculiar is that more than half of Sadael‘s long-distance works were released between 2007 and 2010, while in the past decade the frequency of releases has decreased to more reasonable terms, so to speak. It was not a coincidence, on the other hand, that the first phase of the career was also the one most marked by stylistic variations if we consider that the 2004 black metal-driven debut was then followed by a shift towards dark ambient sounds, sometimes with a robust electronic component, at least until 2009, the year of their participation in two split albums, the first in the company of the German atmospheric black one man band Vox Clamantis and the second with two other US solo projects, Ritual Flame and Desolation. In these two works, the transition to a raw and still sketchy form of funeral was evident, as much as preparatory to the already fairly accomplished form found in the 2010 full-length Diary Of Loss; prior to the release of this work there was also time for the release of a live show, in which songs that would flow into the subsequent album were previewed. The live activity presupposed a move to the semblance of a full-fledged band, a solution that had already been anticipated in the previous split but that would not be followed up afterwards, except for the sporadic recourse to the contribution of other musicians in the capacity of guests. Yet another split album in 2010, this time with the Turkish Anlipnes, anticipated by a month the release of Diary Of Loss, a work in which an atmospheric component becomes preponderant, cloaking with drama a context that is certainly still perfectible, but indicative of a road taken within a still broad but this time better defined bed. Diary Of Loss is a work that possesses all the trappings to attract the attention of the most attentive fans, capable therefore of grasping the considerable potential possessed by the Armenian musician.
2010 – Silent Time Noise