Doomed‘s is a career that I’ve been lucky enough to be able to follow and comment on since the very beginning, thus being able to appreciate the constant evolution that brought Pierre Laube’s solo project to be one of the most consistent realities of European death doom. 6 Anti-Odes To Life, as you can guess, is the sixth album of a journey that began in 2012 and that, so far, had culminated in a magnificent work such as the previous Anna, dating back to 2016; on this occasion the German musician goes further, accentuating the melodic aspects of his sound and giving it at times post metal impulses in an even more convinced way than ever before. The Doors opens wide the gates on this record, confirming right from the start the very peculiar and recognizable sound of Doomed, but with the inclusion in its central part of a melodic break of overwhelming beauty. The contribution of Uwe Reinholz’s acoustic guitar (already successfully used in Anna) introduces a more bitter song than the previous one like Aura, even if, as it will happen for the rest of the album, we don’t find those death-like outbursts that Pierre had pleasantly accustomed us to. Atmospheres are slower and more enveloping, then, but without dispersing the dark and oppressive component that is connected to the proposed genre: Touched is emblematic in this sense with its slow but constant crescendo, until the familiar dissonances placed in the final; the next Our Gifts would be instead a song to be relegated to the dreamy post-metal voice if it were not mostly torn by a deep growl. In Reason the melody takes the field, also thanks to clean vocals that remind us of Sothiris of Septic Flesh, for timbre and evocativeness: this is one of the best tracks of the album, enriched also by a guitar work of great quality; Insignificant follows, where Reinholz’s touch can be heard again, all at the service of the melancholic flow of the sound of clear Doomed imprint, but with two or three notches of speed less than in the past, at least for most of the track, before the wonderful final progression makes us realize that we have come across one of the compositional peaks of Laube’s career. The delicate ambient doom of Layers (Ode To Life) closes in the best possible way the album that should be the definitive consecration of one of the brightest talents of the doom scene (even if after six works of such a level it could be paradoxical to have to express oneself in such terms). The anger that transpired from a dramatic concept like Anna‘s is mitigated and even better connected to the atmospheric melodic intuitions that Laube exhibits without reticence, reaching the perfect squaring of his compositional circle; all with the clear feeling that the artistic parabola of the musician from Saxony is still in full ascendant phase.
2018 – Solitude Productions