The English band Imindain came to the attention of doom fans in the middle of the last decade with two demos, followed by the full length And The Living Shall Envy The Dead… Two split albums in 2009 seemed to have closed the adventure of the band that, however, after eight years of silence comes back with this long ep, made of an intro, two unreleased tracks and a cover of Disembowelment. The death doom of the trio from Stoke On Trent is hard but not without melodic cues, oscillating between rough death and the melancholic abandonment of the funeral, outlined by a painful lead guitar that certainly increases the evocative potential of the work. At the level of references are cited in the presentation almost all the deities of the industry, from which Imindain draw with judgment and putting a lot of their impeccable attitude. So, between hints of the essential Finnish funeral school (the guitarist D.L., however, has been part of Profetus until a few years ago), and to the Australian one, paid homage with the cover of the seminal Disembowelment, The Enemy Of Fetters And Dwellers In The Woods flows in a way far from painless, leaving on the field the right dose of gloomy sadness with the two unreleased The Final Godhead and A Paean To The Vermin, both characterized by harsher sounds in the first part and then open to the emotions aroused by a wise use of the six strings in the descending phase. The wonderful cover of Cerulean Transience Of All My Imagined Shores is the icing on the cake placed at the end of a convincing work: the track is rendered very well by the trio without distorting its essence and indeed, keeping almost intact the characteristics of a piece of doom history composed almost a quarter of a century ago. A welcome return and anything but superfluous, then, for Imindain, with the concrete hope that this ep is the logical appetizer of a new long-distance work from which, objectively, we expect a lot.
2017 – Weird Truth Productions