Façade belong to the interesting and qualitative Dutch doom scene, of which they represent the most introspective side. The fact that their second full length The Eternal Dance comes out more or less in conjunction with the last work of the veterans Officium Triste, helps to better understand how many and what are the facets within a genre that the uninitiated consider mostly monolithic and without variations. However, it is not even so obvious that the topics covered at the concept level are marked by a painful and inescapable negativity: in fact, the Façade continue and refine with The Eternal Dance their philosophical approach to Eastern disciplines from which they extrapolate then, as expected, issues related to the passing, of course, but with a vision of post mortem that does not give rise to the load of despair that grips instead those who think that death is the end of everything. This conceptual depth is wrapped by a harsh death doom but not without poignant openings (worth for all the beautiful ending of Death) or by clearer passages (the magnificent crescendo of Ego) and, above all, by the rather personal traits to mark a further step forward compared to the previous and already very convincing Loathe, released two years ago. This second full length captivates from the first note thanks to its dark but never too oppressive and if, then, you want to make a more precise idea about the cycle of death and rebirth, Façade offer the opportunity to deepen everything with the final track Moksha, where a recorded intervention of the Zen philosopher Alan Watts is wrapped in an excellent musical envelope. The Eternal Dance is a really convincing work under all points of view because the Dordrecht band exhibits a rather personal trait giving, for example, a higher than usual space to an instrument like the bass (just listen to the opener Undead) that in the genre has usually a task of mere support. This is one of the classic records that grows a lot after each listening but at least this is not a novelty for doom fans. Another remarkable test that coincides with a phase of fertile creativity within the genre.
2019 – Independent