The Extinct Dreams are one of the many bands, gravitating in the Russian doom scene, in which I have come across in recent years. The first encounter dates back to 2010, with Elsewhere Lights, the second long-distance test that showed a considerable potential in the face of a sound and compositional performance still immature. In the meantime, the band led by Ramapriya Das has printed last year a split with Unsaved, solo project of David of the most famous Georgian Ennui, and now comes back with a new full-length, Fragments of Eternity. The interpretation of the genre is directed towards a funeral death very melodic and equally well executed and produced (thanks to the contribution of the holy hand of Greg Chandler); all in all The Extinct Dreams do not even refer too much in a marked way to the typical sounds of the band compatriots, since, apart from the funeral incipit ascribable to the style of Comatose Vigil (but much less dark and suffocating) all in all the rest of the work opens towards a gothic death doom in which converge a bit all the nuances caught by European groups that interpret the genre in its most melodic (SwallowThe Sun, Saturnus, Officium Triste). The lyrics are all in the mother tongue but, in general, it is clear that the entire work of the Siberian band is pervaded by an intense spirituality of Hindu matrix (the cover and the name chosen by the band leader are symptomatic in this sense). For this reason, while maintaining mostly melancholic traits, the sound of The Extinct Dreams never appears desperate, but maintains a kind of brightness that creates an effective contrast with the scores typically painful doom: the result is an album really very nice, made of four tracks quite long but not too complex assimilation and able to impress in a more rapid way than the average of the genre. If, personally, I prefer the opener Карма (Karma), for its initial funeral-matrix gait, the remaining three tracks are definitely good, starting from the more rhythmic Damodara Stotra, passing through the roughness of Nоисках Cебя (In Searchs Of Itself) to end with the more ethereal sounds of the title track, where the sitar also makes a good show in deference to the moods that pervade the imagination of the Russian band. Ultimately a convincing work, which I would dare to recommend even to those who hang out with less frequency in the territories of funeral death doom, just for the characteristics of a sound that prefers shades not necessarily dark or catacombs.
2016 – Stygian Crypt Productions
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