Who Dies In Siberian Slush - We Have Been Dead Since Long Ago (CD)

funeral death doom, Solitude Productions, Solitude Productions
350.00 Р
Price in points: 700 points
SP. 069-12 x
In stock
+
The long-awaited release by the vanguard of Solitude Prod., the second full-length album from Moscow band Who Dies In Siberian Slush! In this work the Russian masters of funeral doom death follow their own way of music composition and sound production showing their potential from alternative side. Like «Bitterness Of The Years That Are Lost», the new album of WDISS contains a lot of funeral doom elements, however, the basic style is more close to doom death metal. At the same time «We Have Been Dead Since Long Ago» features diverse stylistic inclusions and variations. Icy massifs of guitar riffs framed by an outstanding growl, irrepressible fire of solo guitar parties, and piercing cold rain coming from heaven through the sound of funeral march are waiting for the listener. The album is recorded and mastered at the Primordial Studio (Comatose Vigil, Abstract Spirit, Revelations of Rain ). The lyrical concept of the album is based on different tragic events with sorrowful epilogues and continues the philosophic tradition started at the previous band works. Despite the contradictoriness and the irregularity of the album, it is highly recommended to fans of Ataraxie, Profetus, Loss and My Shameful style.

Tracklist:
1 The Day Of Marvin Heemeyer
2 Refinement Of The Mould
3 In A Jar
4 The Spting
5 Funeral March №14
6 Of Immortality

Artist:
Who Dies In Siberian Slush
Artist Country:
Russia
Album Year:
2012
Title:
We Have Been Dead Since Long Ago
Style:
funeral death doom
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat No:
SP. 069-12
Release Year:
2012
Barcode:
4627080610163
Country Of Manufacture:
Russia
Review
Terroraiser
9/10

Специфика такой музыки как Funeral Doom Metal состоит в том, что ее границы крайне ограничены - здесь практически невозможно варьировать музыкальный ритм и настроение. И музыкантам, избравшим для себя такую музыкальную форму, для того чтобы привлечь слушателя, чаще всего нужно показать свою фантазию в области создания наиболее полного, насыщенного звучания. Собственно говоря, многие особенно не парятся над этим вопросом, предпочитая создавать заунывную музыку без особых изысков, и при этом все равно находят своего слушателя. Однако если говорить о более широкой аудитории, чем два десятка членов клуба самоубийц, то в этом случае без музыкальных умений все же не обойтись. Московской группе с довольно емким названием WHO DIES IN SIBERIAN SLUSH вполне удается сделать свою музыку такой, чтобы ее альбом можно было дослушать до конца - что в такой музыке лично мне удается не часто. На втором полноформатнике группы шесть похоронных маршей общей продолжительностью чуть более чем в 40 минут, что довольно-таки скромно… И практично. Чем дольше похороны, в конце-концов - тем короче поминки. Но главное, музыка не кажется такой уж занудной, благодаря вполне насыщенному звучанию, хотя в данном случае удалось обойтись довольно стандартным набором музыкальных инструментов - гитарами да барабанами. Эх, гармошки явно не хватает! Это ж какие похороны в России - да без гармони?

Author: Moonfucker
Review
Doom Metal Front magazine #11
5/10

Wieder einmal hat die russische Kaderschmiede SOLITUDE PRODUCTIONS in den Weiten der ehemaligen Sowjetunion ihre Fühler ausgestreckt und eine dunkle Death Doom-Herde zu Tage gefördert. 2003 als Soloprojekt gegründet und mittlerweile vollzählig reihen sich WHO DIES IN SIBERIAN SLUSH aus Moskau nahtlos bei ihren Labelkollegen ein. We Have Been Dead Since Long Ago ... ist das zweite Album der Band, das mit sechs Titeln daherkommt. Das Quartett spielt düsteren, melancholischen Death/Funeral Doom mit eingängigen Gitarren und dem genretypischen Growls, hebt sich jedoch leider nicht wirklich aus der großen Masse an Künstlern in diesem Sektor hervor. Die Tracks wirken an vielen Stellen zu langatmig und unnötig in die Länge gezogen. WDISS haben ihren eigenen Sound, wärmen aber nur Altbewährtes wieder auf. Mehr eigene Ideen und mehr Experimente wären wünschenswert gewesen, um die Scheibe interessanter zu gestalten und die Grenzen auszuloten.

“The quartet is playing doomy, melancholic Death/Funeral Doom with catchy guitars and the genre typical growls. However, the CD unfortunately doesn't stick out from the vast mass of artists in this field.”

Author: Florian Friedrich
Review
Atmosfear Magazine №12
7/10

Название нового диска россиян как обычно отдает ярым пессимизмом. Ну, впрочем, и неудивительно, ведь группа не играет попсу для мажорных девочек, а самый настоящий doom/death metal с элементами funeral. По сравнению с прошлым релизом "Bitterness of the Years That are Lost" (2010), материал стал более зрелым и хотел бы сказать более интересным, но, увы. Дебютник был горздо круче в музыкальном плане. Уж не знаю, почему так, видимо все свои лучшие идеи, музыканты реализовали в прошлый раз при записи первого альбома. В остальном же, никаких претензий: качественная запись (Primordial Studio), приятное оформление (хотя опять же, на дебютном диске обложка была куда убойней), ну и лирика тут соответствующая - печаль и тоска в каждой строчке. В общем, если вам понравился прошлый диск этих угрюмых москвичей, то, наверное, понравится и этот, хотя думаю, лишь третий альбом расставит все точки над "i".

Author: CS
Review
Vibrations of Doom
8/10

I remember their first ever release on Solitude Productions, I wasn't overtly pleased with it but it wasn't terrible. This CD is a marked improvement in so many ways. Starting off, I learned a bit of U.S. history with 'The Day Of Marvin Heemeyer,' a man who armored a bulldozer and drove it right through the streets here in the U.S. It's a pretty heavy tune and one of the best songs W.D.I.S.S ever wrote. The vocal samples E.S. pulled up for this one are top notch! It's your slow, ominous and doomy track, but there are some faster
passages as well, probably some of the fastest instrumentation you will hear on this disc. Followup 'Refinement Of The Mould' starts off with some nice, haunting piano notes, and I definitely liked the dirgey atmosphere. Still, some of the instrumentation more towards the end of the song could have been fleshed out better; namely some of the vocals and instrumentation mixture. And a lead solo in here, that was rather unexpected. For it's 9 minutes in length it's got quite a few structures to play with. I will say this is probably the weakest cut on the record. I loved the doomy trumpet sounds on the followup 'In
A Jar,' which reminds me of Colosseum, adding some piano notes and of course the deep death metal styled vocals. There's lots of solo instrumentation on these tracks, preferring to not over utilize vocal work. Followup cut 'The Spring' is a very enjoyable track, though the opening "toybox" notes were kind of odd. This particular cut sports some of WDISS's best guitar work on the record I must say. And another lead solo, something you definitely don't hear a lot of in doom metal. 'Funeral March No. 14' sounds a bit like what Candlemass did with 'Marche Funebre,' and I questioned the 7 minutes in length this track
runs on, especially being an instrumental. Not a whole lot of variety present on this one either. And CD closer 'Of Immortality' didn't overtly impress me, though the slow and heavy riffs aren't bad, and the mournful instrumentation picks up in places. Once again, the culprit seems to be the passages where the vocals interact with the instrumentation. Overall, it's definitely a step up from the debut, and after reading the interview it seems like E.S. was going for more of a rather uncomfortable vibe on some of the songwriting. Still, there's definitely reason to check it out, I'd say. Listen to the soundfiles and make up your own mind.
Review
Doom-Metal.com
01.04.2013

It seems to me that Funeral Doom Metal was once a style of music that was most popular in Finland. Finnish bands Thergothon and Skepticism originated the style, while the likes of Shape of Despair and Colosseum modernized the genre with a more atmospheric approach. Yet more recently, bands that also execute this kind of slow and extreme metal are becoming more common in Russia. While Ea, Comatose Vigil, and Abstract Spirit are more prime examples, Who Dies in Siberian Slush has remained in obscurity. Their first album, ’Bitterness of the Years that are Lost’, was one of many albums released by Solitude Productions that was overshadowed by the less obscure bands that also distributed albums through the label. Since many more well-known Doom Metal bands released fantastic albums this past year, the band’s 2012 sophomore, ’We Have Been Dead Since Long Ago’, seems to be attracting the same scant amount of attention as their first.

The music on ’We Have Been Dead Since Long Ago’ is fairly basic. Dissonant and ugly guitar melodies are joined with simple drumming and the typical deep growls. While the first album was strictly funereal, the music focuses on sounding raw and dabbles more in Death/Doom Metal on this new output. Although the rhythm mostly sticks to the band’s roots in being very sluggish and lethargic, there is also a decent amount of mid-tempo and speedy sections to add variation and avoid being too repetitive. There are even some melodic passages that lighten the dire mood, particularly on ‘Refinement of the Mould’ and ‘In a Jar’, which bring to mind the early works of Funeral, as well as Mournful Congregation. Occasionally, the band implements pianos, synthesizers, and even trumpets (well, a trumpet setting on the keyboard, taking akin to Abstract Spirit) to allow the songs to sound more majestic at times.

While I would say the guitar melodies are the real stand-out of the album, I feel as if that’s all that stands out on ’We Have Been Dead Since Long Ago’ whatsoever. Since this band does play a style as minimal as Funeral Doom, it can be expected that the drumming will only be but so technical and that the vocals will be deep grunts, which are typical characteristics for this kind of music. Yet, the execution of these two elements makes it difficult to differentiate Who Dies in Siberian Slush from the plethora of similar bands that are active now. In particular, I find that the band shares a lot of characteristics with My Shameful, not only in the vocals and pacing of the music, but in the suffocating and grotesque atmosphere as well. While the performance is good nonetheless, I sense a real lack of identity. However, since I have found it’s common for more modern Doom Metal bands to develop uniqueness over time, perhaps Who Dies in Siberian Slush will be able to create a sound that is more their own in the future. Nevertheless, those who enjoy the less atmospheric side of Funeral Doom and Death/Doom should look into this, especially if they enjoy Ataraxie and Funeralium, as well as the aforementioned My Shameful and Abstract Spirit.

Author: Dante Duvall
Review
Mroczna Strefa
8.5/10

Nie wiem czy drugi album moskiewskich pogrzebników jest lepszy od pierwszego, ale ja odniosłem wrażenie, że zmierza on w zdecydowanie dobrym kierunku. Jako że debiut był czymś, co w taki czy inny sposób nawiązywało do sprawdzonych wzorców z kręgu funeral doom czy death/doom metalu, tak nowy materiał swoją konkretnością i konsekwencją wychodzi poza pewne ramy, choć oczywiście nadal słychać na nim takie, a nie inne inspiracje. W pierwszym rzędzie jest to oczywiście wciąż MY DYING BRIDE, co da się wyczuć już w pierwszych riffach pojawiających się na płycie, a które pojawiają się raz w jednym, raz w drugim głośniku. Dalej można by tu przywołać fińską szkołę bardzo smutnego grania, ale mimo wszystko WHO DIES IN SIBERIAN SLUSH ma takie specyficzne, nieokreślone i bardzo ‘syberyjskie’ podejście do doom’owej materii. Już końcówka pierwszego na płycie „The Day of Marvin Heemayer” rozpędza się całkiem nieźle i można by rzec, że WDISS gra wręcz death metalowo. „Refinement of the Mould” jest już znacznie bardziej pogrzebowy i ‘płaczliwy’, jest partia pianina na otwarcie, bogata melodyka, głęboki growl i czego więcej jeszcze trzeba fanom takiego grania?... Muzycy opierają utwory głównie na efektywnie pracujących gitarach, co nadaje materiałowi pewnej tylko pozornej prostoty, bowiem w ramach danego kawałka dzieje się całkiem sporo, a ich długość oscyluje między sześcioma a dziewięcioma minutami. Klawiszowe motywy stanowią tutaj coś w rodzaju ciekawych ozdobników. Tak jest na przykład na początku „In a Jar”, gdzie gitarowym pomysłom dodają majestatu, w „The Spring” z kolei ograniczają się do pozytywkowego wstępu, a w stylizowanym na muzykę klasyczną i w całości instrumentalnym, pogrzebowym marszu o tytule - nomen omen - „Funeral March No. 14” zastępują orkiestralne dęciaki. Zaskakująco dobrze wypadają gitarowe solówki, które gdzieś tam zahaczają o tradycyjnego hard rocka, ale też są jedynie interesującym dodatkiem dla zdecydowanie zwartej, choć przy tym dość różnorodnej całości. Tak słucham tego materiału już któryś raz i muszę stwierdzić jednoznacznie, że za każdym razem wchodzi lepiej i tylko lepiej. W swojej lidze Rosjanie zaszli już wysoko i WHO DIES IN SIBERIAN SLUSH to nie jedyny tego przykład.

Author: Diovis
Review
Forgotten Path
6.5/10

Doom Metal has become more and more popular in Russia recently and both - mixed with Death Metal and shamelessly phlegmatic; it is being created quite well. As I haven’t listened to the first works of this band yet, I can’t declare that these dying in the slush of Siberia Russians have never been originally provoking or especially creative, but the last opus could be inscribed on the list of those passable albums.
Indeed, the music here is shamelessly simple, as it often works in the case of Funeral Doom - a permanent repetition involves and doesn’t allow us to remain apathetic, but in this respect it is possible to catch the state that is encoded in the title of the album just rarely or in passing. The simplicity doesn’t help in any way; it just repels and induces boredom because those obviously predictable and unwanted accents just merely don’t allow us to empathize. For instance, they insert some piano motifs; in the beginning it sounds like an unnecessary appendix just for clogging, but when it is repeated at the end of the song, it reflects the sounds of guitars and even acts like an antidepressant which is really irrelevant in such music. For this reason you are right away brought to the reality - “what the hell am I listening to?”. Well, on the contrary, the guitar solos are very mesmerizing and involving, but again, they are coming from Heavy Metal or something like that - they do little for the general mood of the song. However, that simplicity has some folksy greatness, so Russian and based on sincerity; and that is felt during the whole record long more or less. Though not every single song affects the listener as it should affect by no means, but the efforts and methods are significant (and there is no cheap imposture by using effects, sweet melodies or an especially fancy technique, which contains nothing). Even the example of piano perhaps was irrelevant, but it is used really rationally. Exactly that spirit of the Russians possibly rescues the whole album - here you won’t find any new or particularly technical material, you will obtain quite boring stuff, which even wins with that monotony because the band manages not only to not lose itself in it, but also to use it for its aims...

Author: Bloodie
Review
Evilized

Vor rund drei Jahren konnte die aus Moskau stammende Funeral Doom Metal Gruppe WHO DIES IN SIBERIAN SLUSH nach einigen Demoveröffentlichungen mit ihrem Debütalbum “THE BITTERNESS OF THE YEARS THAT ARE LOST” zum ersten Mal im größeren Stil auf sich aufmerksam machen. Zwar stellenweise etwas unausgereift und klangtechnisch nicht wirklich ausgewogen, ließen die Songs der Platte doch durchaus Potential erkennen und hielten einige ansprechende Momente bereit. Ob es der Truppe um Bandchef “E.S.” geglückt ist, diese Stärken in den vergangenen Monaten weiter auszubauen und die Schwachstellen des Erstlingswerkes auszumerzen, zeigt nun das neuste Output “WE HAVE BEEN DEAD SINCE LONG AGO”, das ebenfalls via Solitude Productions erscheint.

Bereits die ersten Takte des Openers “The Day Of Marvin Heemeyer” offenbaren, dass WHO DIES IN SIBERIAN SLUSH zumindest bezüglich des Sounds leider keinerlei Fortschritten machen konnten, da die Instrumentierung wie auch beim Vorgänger etwas undifferenziert aus den Boxen schallt und den Stücken so einen leicht ruppigen Charakter verleiht, wobei speziell das scheppernden Schlagezeug deutlich an Druck vermissen lässt.


wenig markante Strukturen

Allerdings haben die sechs Kompositionen der Platte mit einem noch weitaus größeren Problem zu kämpfen, da die Arrangements der Russen auch nach einem wiederholten Hördurchlauf einfach nicht zünden wollen. So fehlt es “WE HAVE BEEN DEAD SINCE LONG AGO” an jener intensiven und erdrückenden Atmosphäre, die Funeral Doom für gewöhnlich auszeichnet. Stattdessen quälen sich die zähen Riffs kraftlos und uninspiriert durch das knapp dreiviertelstündige Werk und hinterlassen wenig markante Strukturen. Auch die Melodiebögen, die noch auf dem Debüt für einige ansprechende Passagen sorgen konnten, wirken unbeholfen und lassen keinerlei Stimmung aufkommen. Erwecken Titel wie “Funeral March No14″ zunächst noch die Hoffnung auf melancholische Hymnen, enttäuscht das Ergebnis mit belanglos aneinandergereihten Motiven.

Es bleibt festzuhalten, dass die vier Russen auf “WE HAVE BEEN DEAD SINCE LONG AGO” einen großen Schritt nach hinten, statt nach vorne gemacht haben, ohne an die positiven Elemente von “THE BITTERNESS OF THE YEARS THAT ARE LOST” anknüpfen zu können. Ob es WHO DIES IN SIBERIAN SLUSH nach einem derartigen Tieflug nochmals gelingen wird, das Ruder herumzureißen ist wohl eher fraglich.
Review
Pavillon 666
7/10
21.08.2013

WHO DIES IN SIBERIAN SLUSH était à la base un projet solo du musicien appelé communément E.S. Les deux premières démos du groupe étaient disponibles sur le net, mais à partir de novembre 2008, les choses ont changées. WHO DIES IN SIBERIAN SLUSH est devenu un groupe à part entière avec l’intégration d’un guitariste, d’un bassiste et d’un batteur. Avec cette nouvelle formation, les morceaux du groupe ont pu prendre une autre ampleur et la composition se transformer légèrement. Le groupe sort aujourd’hui un deuxième album intitulé « We Have Been Dead Since Long Ago… » SOLITUDE PROD offre une vitrine impressionnante de groupes de doom sortis tout droit de Russie. On s’interrogerait presque sur la diversité des groupes de metal de ce pays tant ce style est bien représenté. Dans tous les cas, l’intérêt que l’on porte au doom se voit comblé par un tel label avec la découverte d’une densité de groupe importante. WHO DIES IN SIBERIAN SLUSH appartient au courant du Funeral Doom qui comme vous le savez est un style extrêmement lent et empreint d’une grande mélancolie, parfait pour animer vos soirées d’anniversaires ou autres repas de famille… L’album s’ouvre sur « The Day of Marvin Heemeyer ». Le morceau fait explicitement allusion à Marvin HEEMEYER qui, pour ceux qui ne le savent pas, avait pour projet de détruire la ville de Granby dans le Colorado avec un bulldozer. L’homme était harcelé par les autorités locales après s’être disputé avec elles sur les lois d'aménagement du territoire et ses violations des lois locales avec son entreprise de réparation de silencieux. L'entreprise Mountain Park Inc. a absolument voulu s'emparer de la maison de HEEMEYER pour y bâtir une nouvelle usine. Marvin HEEMEYER a passé 6 mois à blinder son bulldozer pour en faire le « Killdozer » et a fini par se suicider à l’intérieur de l’engin après avoir fait 10 millions de dollars de dommage sans faire aucune victime. L’anecdote vaut franchement le détour, suffisamment en tout cas pour qu’un groupe lui rende hommage et lui dédie un morceau de doom death. Celui-ci est composé de deux parties. Le début est plutôt lent et représentatif de ce que l’on trouve dans le reste de l’album. La fin du morceau est nettement plus rapide avec quelques samples qui rappellent la poursuite avec la police. Il en résulte un morceau contrasté duquel se dégage une certaine énergie. « Refinement Of The Mould » est nettement plus traditionnel avec ses 9 minutes de pure lourdeur. Les mélodies allègent toutefois l’ambiance générale du morceau. C'est un point important chez ce groupe comme l’atteste encore une fois le morceau « In A Jar ». Ce sont ces mélodies qui font tout l’attrait de ce type de morceaux évitant ainsi de tomber dans le drone ou le sludge. Néanmoins, WHO DIES IN SIBERIAN SLUSH est un groupe qui s’appréciera surtout par les connaisseurs. Ce n’est pas en soi un style dans lequel il est évident de rentrer dès la première écoute. Pourtant, cela en vaut le détour malgré la durée de certains passages ou de certains riffs semblant se répéter infiniment, comme sur « The Spring » ou « Funeral March N°14 ». WHO DIES IN SIBERIAN SLUSH nous présente donc un nouvel album tout à fait honorable de funeral doom que l’on appréciera d’autant plus lorsque l’automne commencera à s’installer.

Author: CHART
Review
Transcedening Obscurity

Who Dies in Siberian Slush (WDiSS) is a Death/Doom Metal band from Russia. Now this is something you may have heard many times before. Death/Doom, Doom, Funeral Doom, it’s too common. What makes this band different from the ones out there? Does anything? The answer is YES.

It’s not too easily apparent but once you commit to it or give it more than a passing chance, you will easily see why – the richness is amazing. The richness is akin to Morgion’s epic album ‘Solinari’ and WDiSS re-creates it using the template of Ataraxie, taking cues from My Dying Bride. What this description leaves out is the masterful integration of the said styles into something seamless, rich in emotional depth and sombre atmosphere.

This has had my attention occupied for the most part of this week when I should have reviewed this album days back. Every time I sit down to listen to it, I keep absorbing parts of this and notice something I hadn’t noticed before. This is when at the face of it, nothing may seem out of the ordinary. This is what makes this band special. This is what makes it worth reviewing for me and for you, worth your money and a place in your collection. The gold disc and sublime packaging as always by Solitude Productions makes it worth the effort.

‘We Have Been Dead Since Long Ago…’ is a masterful album, a myriad of emotions eloquently expressed while staying true to the Doom/Death Metal style, which is more than what can be said about most such bands these days.

Author: Kunal Choksi
Write a review