Painthing - Where Are You Now...? (CD)

death doom metal, Solitude Productions, Solitude Productions
533.33 Р
Price in points: 800 points
SP. 139-18 x
In stock

The debut album by the Polish band Painthing that has been recorded after many years of professional activity and a number of gigs. This is a verified depressive doom death metal in vein of the golden age of the style in 1990s. The original combination of depressive mood with catchy melodies and heaviness is complemented by the disc design made by Michal "Xaay" Loranc (known for working with Nile, Behemoth and other bands).

1 Between 8:27
2 Widow And The King 7:37
3 Buzz And Madness 6:51
4 The Shell I Live In 7:58
5 Psychosis 4:48 7:51
6 Only Death Will Divide Us 5:59
7 To Live Is To Fight 7:53
8 So Be It 3:42

Artist Country:
Album Year:
Where Are You Now...?
death doom metal
CD Album
Jewel Case
Solitude Productions
Cat Num:
SP. 139-18
Release Year:
Country Of Manufacture:

I had never heard of Poland's Painthing prior to receiving this debut album to review. Honestly, I was not expecting much because the band's name is confusing but seems like it could be derived from our old friend, teen angst. Furthermore, the album title makes it seem like finding some depressive (not in the good sense) lyrics was somewhat inevitable. Those were my initial thoughts, anyway.

Having now listened to the album, I feel like my pre-listening concerns were perfectly justified. Most debuts tend to require a number of improvements to be made and 'Where Are You Now…?' is not an exception. This release comes across musically as if it were supposed to be an aggressive Death/Doom composition with keyboards added for drama. The intensity is quite poor though, which could be because of the below average harsh vocals, the below par production, or what sounds like a borrowed child's keyboard. At no stage during this album did I feel like the band had me captivated, sadly.

I actually thought that Painthing had some good ideas when it comes to song structures though. For example, I liked the riffs on 'Widow And The King' and thought they could have really built on that. Unfortunately, the Poles were lacking that something extra to complete the songs in a proper fashion. This particular track's fire was rather expertly doused by some very painful male clean vocals. I may not be a huge fan of the band's harsh vocals on this album but they're a lot better than their clean vocals. I also enjoyed the piano introduction to 'The Shell I Live In' as it paved the way for a spellbinding track to be unleashed but, as with most (if not all) tracks on this album, it was destroyed by an unnecessary element. In this instance, that was the painfully rushed male clean vocals and child's keyboard interludes.

For me, this is yet another example of a band that should stick to writing songs in its native language. In the English language, their lyrics look awkward and childish whereas the musical elements in the album suggests that raw passion and emotion was the name of the game. I can't help feeling that there'd have been more of a connection with the song if the lyrics had been in Polish. I mean, during the slower sections where the male clean vocals were present, I genuinely cringed at times because it sounded weak and awkward. In no way can I imagine such elements being well-received by the Doom masses because it's poor, to be blunt. The female clean vocals, however, are done well in conjunction with the style of the album, which makes me wonder why they're not more frequently utilised.

Ultimately, my findings on 'Where Are You Now…?' are that the band has some potential but needs to make some serious changes in order to achieve it. The transitions between different speeds were more awkward and jerky than smooth and measured. The vocals were generally either average or poor. The song structures were rather interesting in spells but were generally interrupted by unnecessarily intrusive/destructive elements. The keyboards sounded very poor. The band was too rash in certain moments on the album, particularly on 'Buzz And Madness', which was composed as if nobody in the band had any clue about song structures to begin with. Unfortunately, there are just too many poor elements on this release for my liking even though I think the band has got some good ideas to try to work on in the future.

Author: Ian Morrissey
Metal Archives

Although having been active since 2014 it took four more years for these brave Polish doom/death metal warriors to release their full length debut “”Where are you now…?”. The maturity and quality of this record is more than impressive and so it should not come as surprise that the established label Solitude Productions came along and took the chance to put this band into their roster.

Like often the case when it comes to (death/) doom metal “Where are you now…?” does not simply follow a pop song formula consisting of the traditional verse-bridge-chorus parts. The songs feature arrangements that flow and evolve as each riff closes. Each transition marks an indistinguishable final chapter in a song segment. This album is mostly comprised of pieces, not standard songs. However, it is the way how those pieces have been put together that makes this album stand out from most of its peers.

It can become a bit of a difficult listen as the band slow down to a crawl and the guitarist downpicks slowly to the slogging beat. Lovers of faster and more casual metal might find this boring and start to look elsewhere. While this is for sure not the kind of music I could listen to each and all day I highly appreciate the mood Painthing are able to create, leading to a satisfying listening experience given the right circumstances.

Fans of cinematic arrangements to doom/death metal for sure will love this effort. The lyrics keep pace with the riffs, the riffs lock in to the beats, and for brief moments during this album, Painthing remind me of Gothic-era Paradise Lost – minimalist, going slow, then fast, then back again, while melodic solos occasionally provide nuance. The music creates a bleak atmosphere and offers a certain kind of melancholic beauty. Symphonic elements are always present in the background giving the whole affair an epic character.

The production is powerful with the mix perfectly balancing a certain rawness and much needed clarity. The guitars are crunchy without burying the symphonic details. While the growls are deep and beastly each word can be perfectly understood. Rounded of by an atmospheric and mystic cover artwork this album should be worth a look for any fan of dark and crawling metal.

Author: Edmund Sackbauer
Отличный дебют получился у польской группы. Но есть одна особенность. Такого особенного звучания ударных я не слышал в стилистике дум - дэт. Фантастика!

Desde la ciudad polaca de Warszawa, nos llega el segundo trabajo de PAINTHING bajo el nombre “Where Are You Now” y editado por Solitude Productions, dejándonos una buena dosis de Doom Death con reminiscencias a PARADISE LOST, MOONSPELL o MY DYING BRIDE, de la que hablaremos a continuación.

Uno de los mejores cortes del álbum da el pistoletazo de salida “Between”, con una ambientación oscura y unas poderosas estrofas comandadas por la voz de Kuba Grobelny, quien infunde unos tonos limpios y graves muy acordes con MOONSPELL. Gran parte de culpa de ese toque doom, la tienen las guitarras de Kuba y Michal Swidnicki y los toques de teclados de Darek Ojdana que revisten cada uno de los temas. “Widow And The King”, es más pesado y denso, con una gran presencia del bajo a cargo de Jan Rajkow, sobre todo en la parte central, donde también nos deja muy buenos matices la percusión de Jerzy Rajkow.

Antes hemos hablados de los toques death metaleros del grupo, y en “Buzz And Madness” nos los dejan bien claros, con un inicio bestial, en otro temazo que se suaviza dejándonos unas melodías muy bellas en la parte central, un corte que contrasta en su inicio y cierre con el resto, pero que se transforma en otro de mis preferidos. Con “The Shell I Live In”, también continúan con ese toque death, pero más diluido en sus estrofas donde el teclado y la voz limpia y rasgada se adueñan de la composición, quizás un poco sobresaturada de teclados, cosa que no ocurre en “Psychosis”, aunque estén muy presentes, pues la estructura y el tema los pide a gritos, siendo uno de los cortes insignia del álbum y donde nos muestras todos los pasajes que musicalmente recorren.

Con “Only Death Will Divide Us” y “To Lives To Fight”, retoman de nuevo esos temas pesados y densos, que te transportan a un mundo oscuro con unos pasajes instrumentales de gran belleza en sus partes centrales donde los teclados redondean la estructura, como en el segundo de ellos, donde los silencios son completados con un toque coral y un piano triste y nostálgico, antes de llevarnos al cierre “So Be it”, donde una voz femenina pone el cierre en un tema fantasmagórico y melancólico, a base de piano, ambientaciones y voz.

PAINTHING, nos traen un buen álbum de doom/death metal, aunque sin inventar nada nuevo, pero con buenos elementos para recordar grupos de principios de los noventa y hacernos pasar un buen rato musical.

Author: Juan Angel Martos
The Pit of the Damned

Nell'ultimo periodo abbiamo fatto una bella indigestione di uscite discografiche della Solitude Productions. L'ultima band che probabilmente ci mancava a rapporto, è quella dei polacchi Painthing e del loro esordio 'Where Are You Now...?'. Il quintetto di Varsavia è in giro dal 2014, ma solo sul finire del 2018, è riuscito a rilasciare il debut assoluto. Un disco di otto tracce che offre un death doom caratterizzato dall'alternarsi tra partiture tipicamente malinconiche a sfuriate death, con un utilizzo delle tastiere alquanto interessante, decisamente solenne. Lo si capisce dall'opening track, "Between", che mette in scena quello che sembra essere il più classico degli album death doom che richiama i primissimi Anathema, ma che tuttavia ha modo di offrire qualche trovata intelligente e originale. Gli arrangiamenti sono infatti di grande spessore e anche l'utilizzo delle clean vocals che sembrano ricordare Fernando Ribeiro dei Moonspell, alla fine risulteranno vincenti. Probabilmente quello che alla fine stona nel primo pezzo sono proprio le furiose accelerazioni death, che per il sottoscritto, ci stanno qui come i cavoli a merenda. Con "Widow and the King" sprofondiamo nel doom più cupo, con la sovrapposizione tra il cantato in growl e clean accompagnato dalle buone melodie di tastiere, che ad un certo punto trasfigurano in un bell'organone da chiesa. La progressione della song è comunque affidata ad una certa alternanza di cambi di tempo che rendono godibile la proposta della compagine polacca, che cattura enormemente la mia attenzione, quando mette in scena un assolo rock, guidato dal pianoforte. Ecco nuovamente l'originalità di cui andavo in cerca, che compare e scompare a tratti, nel corso dell'ascolto di questo disco, che nel secondo brano palesa anche qualche sentore ritmico alla Morbid Angel. Questo per dire che di carne al fuoco ce n'è parecchia e che forse il focus dei Painthing non è ancora del tutto chiaro. Quel che è certo è che i cinque giovani virgulti siano ottimi musicisti, probabilmente con idee anche particolari (ascoltatevi l'imprevedibile e folle "Buzz and Madness"), ma mi pare che ci sia un po' di indecisione sul cosa esattamente concentrarsi. Qualcuno lo potrà vedere come punto di forza della band, ma se i generi trattati sono un po' troppo distanti tra loro, questo potrà rivelarsi come una grossa debolezza. Mi intriga, sia chiaro, la proposta della band, ci sono ancora però alcune ingenuità da sistemare. Se con "The Shell I Live in" si ritorna alle melodie dei primi Anathema/My Dying Bride, cantati nello stile di 'Wolfheart' dei Moonspell, potete capire lo stupore e l'interesse che potrebbe generare 'Where Are You Now...?'. Poi arriva "Psychosis" e non mi convince granchè, più che altro per la sua eccessiva monoliticità, anche se i nostri provano a risollevarla nel finale con qualche tocco di synth. Con un titolo come "Only Death Will Divide Us" è lecito attendersi un death doom canonico con qualche keys stralunata in sottofondo. Lo stesso dicasi per "To Live is to Fight", una song dai tratti tipici della Mia Sposa Morente, che qui tiene sopita la componente più brutale dell'ensemble polacco, dando maggior spazio alla componente atmosferica. A chiudere il cd ci pensa invece "So Be It", il canto malinconico di una donna su tocchi strazianti di pianoforte ed un chorus etereo che evoca i Decoryah di 'Wisdom Floats', a decretare la fine di un lavoro di sicuro interesse, almeno per quanto concerne le potenzialità di crescita dei Painthing, dal cui futuro sono certo che ne sentiremo delle belle.

Author: Francesco Scarci
Metal Temple

PAINTHING are a five piece Death/Doom band form Warsaw, Poland who are debuting with an album “Where Are You Now…?”. The members played in other bands together and apparently share a passion for early Death/Doom in the vein of MY DYING BRIDE and early PARADISE LOST and ANATHEMA. Other than a short self-introduction on their Facebook fan-page and an album press release we don’t find much information on them online, that’s because the band so far only concentrated on writing new material and playing life. It is notable though that their debut is a full LP and that it came out on the Russian label Solitude Productions, that specializes on the Death/Doom and Funeral Doom Metal niche. PAINTHING might be up to something if this label picked them up in other words.

And indeed, these Poles serve up a rather enjoyable platter of old-school Doom/Death that is an obvious nod to the above mentioned “Peaceville Three.” It has all the attributes of the British pioneers: somewhat simple but strong melodies, a kind of Gothic vibe, Death growls, and heavy, almost laborious riffs. The influence of MY DYING BRIDE is especially prominent, with the dramatic, almost sentimental keys and violins, as well as similarity in vocal delivery and the lyrical mannerism (weepy texts about dying children etc.), but there are clear PARADISE LOST influences as well. Regardless of what we may feel about the originality of PAINTHING’s music, what they do works quite well from a songwriting point of view.

With first song “Between,” we are thrown into familiar Death/Doom territory, it opens with a big, emotional hook: a huge riff backed by dramatic synths. The song is part emotional, part angry, part despondent. The album has a strong opening, but I’m not overwhelmed by the second song “Widow and the King,” there is no strong riff, the clean singing is a bit boring, and the finale that comes after a tender instrumental mid-section (which I quite like) feels a bit forced. I like the following song “Buzz and Madness” much more. It’s a heavy song, but has good melodies in the heavy parts as well as the tender mid-section. As the title suggests “Psychosis” evokes a descent into hell – it is super depressive and even has some mythical overtones (the phrase “why have you forsaken me” was uttered by Jesus before his death and descent into the underworld). “To Live is to Fight” has some nice MY DYING BRIDE melodies and beautiful tender moments – it belongs to the more memorable songs on the album.

Overall, this is a very good debut, not all songs are memorable, and some parts could use some polishing up, but most of the songs are very good and the album has standout moments. For a fan of the Peaceville Three such as myself this album will certainly be enjoyable.

Songwriting: 8
Memorability: 8
Originality: 6
Production: 7

Author: Martin Knap
Breathing the Core


Our life, however sometimes difficult, is ours indeed. That’s why it’s us who take whole responsibility for it and it’s us, who pay all the price for wrong decisions.

People around us tend to share their visions of how we ought to live, use to give advice even if we don’t ask for it.

They know better.
Bullshit – isn’t it?

On the other hand, sometimes they may be right, and such thought comes to us especially when we are in doubt or we fucked something up.

The truth is that we never know...

But what we know for sure is that no one will live our lives instead of us. So our decisions are always right, even if we make mistakes, they are our mistakes.


I remember the first time I visited a hospice – place that provides end-of-life care for patients who cannot be cared for at home.

Loneliness and sorrow were the first impressions I got.

The conditions there were really good, as the hospice was quite expensive.

Someone who paid for that probably was rich enough to provide the best care for the patients.

Mainly there were children, paying for their parents.

One lady which I spoke with, told me that she was grateful to her son, who placed her in such a good place, after her husband died.

He pays the fee, visits her once per 3-4 weeks and for sure he would like to see her more often, but he’s a very busy man of success.

I believe that the lady was truly proud of her son.

But the sadness in her eyes was much more convincing than everything she had said...


Kings and queens of life. Almighty gods of pleasure and joy reaching the edge of buzz and madness. How many of them are the ones who try to cure their pain behind the mask of temporary happiness? Cure with drugs, alcohol, instant pleasures and everything what may help them to disconnect from the suffering they feel every day.

Too many...

At the end of the day, they become patients of hospitals, drug treatment clinics or even psychiatric wards. Dependent on medicines and other people. Sick and helpless. They wait for death - abandoned and miserable. But once, they were kings of life...


Do you remember the guy from Metallica’s video „One”? Sometimes that picture comes back to me in flashbacks.

Our life is our primal right.

The same is death.

It’s one of my deepest fears, to be in the situation when I suffer constantly, beyond the limit, without any hope to recover and don’t have even the possibility to die.

Denying the right to decide about it’s own death while the person feels constant pain, in the name of humanity, Law, God or whatever it is... is inhuman.


The last drama of Sarah Kane, before she died committing suicide. The diary of her last days of life, filled with mental illness, suffering and loneliness.

4:48 am, when she used to wake up in the state of deep depression. This song is based on the drama of Sarah Kane and includes the part of her monologue. The lyrics compiles this original monologue with our vision of it, to embrace the short, but holistic form.

The music reflects the psychotic vein and growing madness. One of the most moving drama performances I have ever seen and the real, although poetic footage of the pure tragedy of human being.


The story of relation so strong that may be ended only by death. The first thought that usually comes to mind is about relation of pure love or friendship able to survive everything what may happen in life.

Nevertheless – life gives much more options. This relation is strong indeed, but in a twisted way.

Humiliation, loneliness, disappointment, hatred...

So frequently people live together only because they are dependent on themselves. Sometimes the dependence lays only on one side and it opens an area for abasement. All positive feelings are dying in a slow agony, day by day, but for some reason there’s no way out from this toxic relation.

It may happen that the last act of dignity or independence is suicidal death.


Life is a journey.
Each of us experiences this journey differently, in a very personal way.
And this journey is not easy.
Even if you have loving people around, you are always facing your fears, emotions or pain alone.
You need to stand for this struggle solitarily.
It doesn’t matter who you are – if you consider yourself as strong or weak – it’s always you, who wins or
is defeated in those battles.
Constant fight until you die.
The good news is that if you are still alive, it means you are on the winning position...

8. SO BE IT:

This entire album is about fears.
The feelings and emotions we are afraid of.
The tragedies and experiences that we even don’t want to think about.
In music, we can face them. Not literally of course, but can try to imagine the hypothetical situation, sip the taste of tragedy we wouldn’t like to experience to tame the fear that dwells inside.
Obviously it won’t prepare us to anything, but some of us will take advantage of this illusion somehow.
Sometimes we are not able to avoid the misery and the only thing we can do is to accept the burden and move on.
Even if it seems to be impossible...

Author: Screamer
All Around Metal

Album di debutto per i polacchi Painthing, Doom/Death band dell'incantevole Varsavia formatasi nel 2014 per mano del cantante/chitarrista Kuba Grobelny, del chitarrista Michał Świdnicki e del tastierista Darek Ojdana, con la line up che si stabilizza dfinitvamente l'anno dopo con l'ingresso della sezione ritmica affidata ai fratelli (presumo) Jan e Jerzy Rajkow-Krzywicki, rispettivamente basso e batteria, ed insieme in ogni band in cui fanno o facevano parte.

Prodotti dalla russa Solitude Productions, il quintetto polacco fondamentalmente rende omaggio con il proprio sound alla golden age del Doom/Death, quegli anni '90 in cui è in pratica iniziata la leggenda di gruppi come My Dying Bride, Paradise Lost ed Anathema; ed è a loro che bisogna volgere lo sguardo per ritrovare le palesi influenze che possiamo riscontrare nell'ascoltare questo "Where Are You Now...?". Un debut album ottimamente prodotto ed egregiamente suonato dai Painthing, un Doom/Death di scuola britannica eseguito alla perfezione dai nostri, ma che alla fine lascia con la sensazione che s'abbia davanti solo il compito ben eseguito da un alunno diligente. Mi spiego meglio: "Where Are You Now...?" non è affatto un brutto album, anzi si lascia benissimo ascoltare grazie a brani che sanno come funzionare - mi viene in mente in primis la bella "Widow and the King" o la seguente "Buzz and Madness" -, ma il tutto ha quell'aria di troppo derivativo dalle tre leggende britanniche di cui sopra, a discapito di quel tocco di personalità in più che avrebbe fatto del debutto dei Painthing un piccolo gioiello. I nostri hanno perfettamente riprodotto le atmosfere plumbee e le improvvise accelerazioni, il lavoro vocale del Grobelny sono buonissime sia con un cavernoso growl che con basse clean vocals, il lavoro delle asce è finemente cesellato ed i Rajkow-Krzywicki dimostrano anche nei Painthing quanto siano affiatati... eppure permane quella piccola sensazione di insoddisfazione alla fine dell'ascolto.

Un senso d'insoddisfazione dato dal fatto che i Painthing hanno tutte le carte in regola per farsi valere in questo particolare genere, ma solo lasciando le loro influenze come un'ombra sullo sfondo. "Where Are You Now...?" è decisamente un buon biglietto da visita e la cosa non stupisce, dati gli alti standard della Solitude Productions, ma sono straconvinto che questi ragazzi possono essere capaci di fare ancora meglio.

Author: Daniele Ogre
Doomed to Darkness

Painthing are a band from Poland that plays a very depressive, atmospheric and depressive form of doom/death metal and this is a review of their 2018 album "Where Are you Know..." which was released by Solitude Productions.

Clean playing starts off the album along with the solos and leads being done in a very melodic style while the slow and heavy riffs are very heavily rooted in doom metal as well the music also adding in a great amount of atmospheric sounding keyboards and the riffs also bring in a lot of melody.

Vocals are mostly death metal growls while the music also has a lot of 90's influences along with some spoken word parts also being used briefly as well as the faster sections of the songs also adding in a decent amount of blast beats and clean vocals are also utilized at times, most of the tracks are very long and epic in length and as the album progresses a brief use of acoustic guitars can also be heard and female vocals are added onto the closing track.

Painthing plays a style of doom/death metal that is very atmospheric, depressive and melodic sounding, the production sounds very professional while the lyrics cover darkness, death and depressive themes.

In my opinion Painthing are a very great sounding depressive, melodic and atmospheric doom/death metal band and if you are a fan of this musical genre, you should check this album. RECOMMENDED TRACKS INCLUDE "Widow" "Psychosis" and "To Live Is To Fight".

Author: OccultBlackMetal
Iye Zine

Nel tirare le somme di una scena importante come quella polacca non si può fare a meno di notare come non abbia tutto sommato prodotto band di grande spessore in ambito funeral death doom, a differenza di quanto accaduto in altri generi.

Forse non riusciranno a modificare questo stato di cose i Painthing, ma il loro esordio su lunga distanza Where Are You Now…? possiede senza dubbio tutti i crismi per essere ricordato con piacere dagli appassionati del genere.
La band di Varsavia infatti fa per gran parte del lavoro quello che alla fine ci si aspetta, ovvero l’offerta di sonorità malinconiche ma non tragiche, contraddistinte da un buon gusto melodico e suonate e prodotte in maniera lineare, il che non vuol dire che siano scolastiche o scontate bensì ben focalizzate sull’obbiettivo di trasmettere emozioni, che è poi il target vero del genere.
I Paithing prendono come possibile riferimento, tra i molti disponibili, i When Nothing Remains, una delle band che in questo decennio ha saputo coniugare al meglio in senso melodico le asprezze del death con il dolente sentire del doom, e da questa base, pescando ovviamente anche altrove, si muovono fin dall’opener Between facendo intendere che il loro obiettivo verrà perseguito senza percorrere improbabili strade alternative.
Certo, anche qui troviamo le spesso famigerate clean vocals (il cui utilizzo da parte di molte band sembra quasi sia una sorta di pegno da pagare non si sa bene a chi, con esiti per lo più scoraggianti), ma per fortuna tutto sommato accettabili nelle loro sfumature e non improbabili come quelle che affossarono l’esordio dei connazionali Oktor, dei quali ritroviamo qui i fratelli Rajkow-Krzywicki, alle prese con la sezione ritmica.
Detto ciò, il growl di Kuba Grobelny è di ottima fattura e buona intelligibilità, cosi come è valido il lavoro chitarristico dello stesso vocalist e di Michał Świdnicki, quanto misurato ed essenziale quello tastieristico di Darek Ojdana; ed è così che, senza reinventare la ruota, i Painthing esibiscono per circa un’ora la loro intrigante idea di melodic death doom, facendosi ascoltare con un certo agio dall’inizio alla fine, con menzione di merito per una traccia coinvolgente come The Shell I Live In.
Where Are You Now…? è un esordio ideale, che consente alla band polacca di piazzare una base già solida per un impianto compositivo che sembra avere i numeri necessari per crescere ulteriormente di livello in futuro.

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