András Illés is a young Hungarian musician who, with his debut album, announces himself as the new emerging talent in funeral doom. When all is said and done, his Dreams After Death project is not far removed from those whose obscure art has marked the last two decades. Here, as has already been said on other occasions, nothing is created and nothing is destroyed, the only purpose is to translate into music, in an honest and heartfelt way, the melancholy, sadness and pain that sometimes accompany us in the different phases of our existence. Among the notes of Embracing By The Light we find natural references to all the deities of András, from the progenitors Thergothon to other totems of the Finnish movement such as Colosseum, Skepticism and Shape Of Despair, passing by Ea, for the sound carpet outlined by the painful trend of the keyboards, and by Worship, for their oppressive slowness. The Magyar guy succeeds in the difficult task of assimilating these influences and amalgamating them, presenting them in an entirely personal form without ever appearing derivative. If one man bands often suffer from several quality mistakes at instrumental and compositional level, here there’s nothing to complain about: every instrument is played with due skill, the growl, even if used sparingly, is always up to the situation and the production succeeds in worthily enhancing everything. Among the six tracks, all of a standard length for the proposed genre, the opening triptych stands out in particular: Genesis, which with its atmosphere halfway between Ea and Comatose Vigil is the ideal introduction to the sense of anguish and despair that the Magyar musician wants to represent, Funeral, which since the title is presented as the musical manifesto of András, and Meeeting With The Ancestors, the pivotal track of the album with its 11 minutes full of intense drama and characterized by appropriate melodic lines. The Endless Time begins to show another aspect of Dreams After Death, that is the ambient one, definitely effective and never an end in itself as it often happens, while in From Time Immemorial Andras frees his probable classical heritage with some passages that could appear as a reinterpretation in doom version of Bela Bartok’s compositions. The album closes with the delicate and melancholic instrumental Outer Space, leaving us with the impression of having discovered an artist who already deserves a place of prominence in the funeral doom field and who, in the near future, could aspire to equal if not surpass his masters.

2011 – Endless Winter