Fifth act for one of the thousand projects of the multifaceted Déhà, an artist who fears no rivals due to the very high ratio between the overflowing quantity of the music proposed and its always amazing quality. Oceans does not fail to meet expectations, this time, however, doing exactly what an admirer of the Belgian musician would have expected, which is to give the prints with the Slow moniker something very close to the disc funeral doom atmospheric definitive, through which force everyone to exhibit without any mask their own disturbance and the dull and latent pain that accompanies even the most carefree existence. Without being helped on this occasion by his great friend Daniel Neagoe (but the two have in store unmissable pearls of which we will talk soon), Déhà stages almost an hour of notes in which the genre is dissected in its most touching, with the slow and constant reiteration of the melodic lines that are gradually changing imperceptibly, and then enriched with new contributions, instrumental and vocal, before exploding in real emotional storms. If in Mythologiae the sound, at times, was more ethereal and, consequently, less intense, Oceans returns to the sounds more dramatic and, if we want, more direct than Gaïa, touching the melodic heights to which Déhà has accustomed us over the years. The concept focuses on the element of water for which, another novelty in this sense, Déhà has delegated the composition of the lyrics to the young compatriot Lore Boeykens; the album flows just as fluid as a liquid and without interruptions between the five long tracks, bringing with it from the first to the last note that musical brand that unites, beyond the differences of gender, projects such as Imber Luminis, Yhdarl, We All Die (Laughing), Deos, Vaer and Maladie, just to name those with greater evocative potential. It seems so useless to talk about the single tracks, even if you can not help but notice how in the thirteen minutes titled Déluge reach unimaginable heights of lyricism for power and drama, amplified by a growl that is never abandoned in the course of the work, leading the listener between the astonishment caused by atmospheres based on keyboards and guitar and beaten by a rhythmic base all but flattened only on bradycardic rhythms. From Dawn to Darkness, from Flood to Nothingness, to close ineluctably with Death: playing with the titles of the songs, this is the path sprinkled with tears along which Déhà’s talent leads us once again, unique in his ability to transform pain and dismay in a superior form of musical art.
2017 – Endless Winter
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