For a few years now, Californians Daxma have been valid interpreters of that fringe of post metal that is more subdued and intimate, and that turns its gaze primarily to atmospheric doom rather than sludge; after a successful album such as The Head Which Becomes the Skull, in 2017, the band from Oakland comes back with Unmarked Boxes, a challenging work in terms of duration and listening mode but completely satisfying, as soon as you can get in tune with the inspired plots aimed at transposing into music feelings of a certain depth that also draw sap from the work of Rumi, Persian poet of the thirteenth century. It goes without saying that the sound only rarely presents the abrupt accelerations typical of the sub-genre and, when this happens, the melancholy feeling that pervades the disc is not at all swept away, if anything it is further amplified; the sung parts are sporadic, mostly entrusted to the ethereal voice of Jessica or to the equally delicate although male Isaac, while to increase the rate of overall yearning the same vocalist successfully ventures also to the violin. As mentioned, the length of the album is not trivial for those who do not like to be accompanied by an intimate and spiritual sound in its procession, so as to seem at times fragile if not almost incorporeal; in fact, the message of Daxma has the necessary inner strength to reach the most open minds, delivering with the titles of the last two tracks, Anything You Lose and Comes Back in Another Form, the synthesis of the philosophical thought of Rumi. In particular, the final track is, in my opinion, one of the highest moments of a work that does not skimp on emotions, delivering a new excellent reality to the attention of those who want to immerse themselves in its music.
2021 – Blues Funeral Recordings