Daylight Dies are arguably the best melodic death doom band in the U.S. and their silence was objectively lasting too long: Lost To The Living dates back to 2008 but, we know, the times of bands devoted to doom music are as long and dilated as the notes released from their records. Just as is happening this fall, which has seen the long waits of Saturnus, Worship and Monolithe admirers repaid with interest, the North Carolina band returns with a superlative work under the banner of a melodic bent perfectly counterbalanced by the more robust sounds. I have always considered Daylight Dies a sort of overseas answer to the magnificence of Swallow The Sun, albeit with due differences arising from their geographical origin and therefore from a different musical background: where, however, the Finnish band, with their last excellent work, accentuated their gothic component at the expense of the death one, ours, except for a greater recourse to clean vocals, keep intact their stylistic coherence entrusting the constructions of the melodic lines exclusively to the guitars without resorting to keyboards or particularly catchy passages. The devastating growl of Nathan Ellis recites lyrics that leave no room for illusory glimpses of serenity, and the oppressive closing of the record, entrusted to the longest track of the lot An Heir To Emptiness, is the tombstone deposited on unfulfilled hopes, on dreams that never came true, on a life perhaps really never lived. This splendid work knows no moments of weariness, each of its episodes alone is worth the purchase of the disc, although genuine gems such as Sunset, where bassist Egan O’Rourke on clean vocals contrasts with Nathan’s harshness, while the guitars brush poignant melodies, A Final Vestige with its alternation between stillness and storm, and Hold On To Nothing, marked by a spectacular crescendo culminating in a solo destined to remain well etched in the memory, deserve a mention. An album of impressive quality for a band that confirms itself at the levels of excellence that compete with it; recommended for those who prefer death doom with a strong emotional impact and have enjoyed the past works of the aforementioned Swallow The Sun.
2012 – Candlelight Records