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

funeral death doom, Solitude Productions, Solitude Productions
419.92 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.

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

Who Dies In Siberian Slush
Artist Country:
Album Year:
We Have Been Dead Since Long Ago
funeral death doom
CD Album
Jewel Case
Solitude Productions
Cat No:
SP. 069-12
Release Year:
Country Of Manufacture:
Spirit of Metal

Créé en 2003 par E.S., guitariste et vocaliste accompagné par un line-up très changeant au fil des ans, Who Dies in Siberian Slush (WDiSS pour le reste de la chronique) sort fin 2012 ce We Have Been Dead Since Long Ago.

Stylistiquement, WDiSS officie à la frontière entre Funeral et Doom Death. Les moscovites pratiquent un Doom très porté sur les mélodies mais évitant toute surenchère à ce niveau là et se permettant de conserver une certaine âpreté, marquée notamment par quelques accélérations plus agressives. Le titre The Day of Marvin Heemeyer (traitant du célèbre forcené américain et de son bulldozer modifié pour résister aux balles) en est ainsi un bon exemple, couplant sur la fin du morceau une montée en puissance assez bien menée à des samples étonnement mis en avant, et créant ainsi un sentiment d'urgence tragique plutôt bien vu.
Le travail mélodique reste sans doute le point le plus important de ce We Have Been Dead Since Long Ago. Evoquant parfois lors des passages les plus Funeral les australiens de Mournful Congregation, il s'avère malheureusement un peu inégal. Si la plupart des mélodies font mouche, malgré un certain classicisme, et que l'album possède quelques moments de grâce (la fascinante mélodie d'intro au clavier de In a Jar et sa reprise à la guitare au cœur du morceau par exemple), d'autres sont moins intéressantes et porteuses d'émotions malgré leur aspect tout aussi classique, tel certains passages du morceau de fin, Of Immortality.

Faute de la présence d'un claviériste à part entière dans le groupe, les interventions du clavier restent peu marquées, souvent utilisées en introduction comme dans le très bon et nuancé The Spring, alternant les émotions et les mélodies avec un certain brio et nous contant l'histoire de voyageurs campant dans la Taïga et emportés dans leur sommeil par une crue printanière. Morceau très classique mais efficace, et se trouvant en tête des titres les plus intéressants de l'album avec la longue instrumentale Funeral March 14.
Cette piste fait en effet appel à des cuivres (des trombones, si je ne m'abuse) particulièrement sombres et graves du plus bel effet, faisant fortement penser aux excellents compatriotes et collègues de label d'Abstract Spirit, mais s'en détachant par une utilisation différente sur le fond. Là où Abstract Spirit vise surtout à faire naître une certaine angoisse horrifique chez l'auditeur (malgré son lot de morceaux purement dépressifs), WDiSS nous propose un titre très mélodique et mélancolique, qui pourrait s'avérer une piste intéressante à suivre pour l'avenir puisque plus personnelle qu'on ne pourrait le penser au premier abord, malgré sa source d'inspiration évidente.

Rien à dire de particulier sur le growl, solide mais ne ressortant pas spécialement de la masse des groupes du genre. Il en est de même de la production, bien exécutée comme toujours chez les groupes de l'écurie Solitude Prod.

Ce We Have Been Dead Since Long Ago est donc en demi teinte. Si l'album est de manière générale assez bien foutu et qu'on y trouve quelques bonnes idées, il manque aussi d'identité et aurait mérité plus de cohérence, qualités nécessaire pour sortir du lot. Pas inintéressant mais pas renversant non plus.

Author: Peacewalker
Ave Noctum

As last album by these fantastically named slushers ended up in my review pile it was natural that I picked the new one out from the pile of discs sent over courtesy of Russian label Solitude Productions and their associated BadMoodMan sister outfit. I think what drew them to me in the first place was their name and also a nice looking drink on the cover of their 2010 album ‘Bitterness Of The Years That Are Lost’, which I described as containing slow serenades of thickest doom. The Moscow based band were a challenge as their music really was bleak and that is by doom’s heavy standards and it left me feeling somewhat on a downer. If I was expecting the band to have suddenly got all jolly between albums I would have been surprised and there is not a shred of joviality about this new creation. So if you are looking for a grim old time come right in.

Having said that there is a certain sense of black humour about first song ‘The Day Of Marvin Heemeyer’ and the odd samples on it intrigued so naturally I looked up to see who he was. Basically ole Marv did something all of us think about doing at one time or another and went postal. Just to make his spree particularly impressive and destructive though he did it with a bulldozer! You can read and indeed see all about his exploits if you wish to look them up it is a sad tale of a man not taking anymore and the only death his message resulted in was sadly his own as he intended. The song itself is more doom death than pure doom and sticks out like the slow lumbering beast of the Killdozer itself causing crunching slow wreckage and mangled concrete as it rides roughshod over everything in its path. Favourite track on the album without a doubt and the bite behind E.S. vocals and the samples from the newscast really add to the intriguing tale. Nice that someone paid tribute to Marvin here, a true hero of our times!

Plaintive piano spreads sorrow on ‘Refinement Of The Mould’ we are in slow doom territory here as a shroud is cast over ponderous riffs and lower than low leonine craggy growls. The singer really has got a deep range that once heard is difficult to forget with the funeral doom pacing of the song makes an interesting contrast. Some shrill guitar cadences and tones are a bit reminiscent of early Bride but these sort of similarities are always going to be found and this lot are certainly quite unique in their miserable craft. The rest of the album does really kind of wear the listener down and brief piano interludes and a song with a musical box effect intro are the only rays of light on the group’s slowest of slow delivery. As for ‘Funeral March No14’ it is a well-known dirge done by the band sounding even slower than normal. As this is published they are burying a nasty witch and this can be her perfect soundtrack to the pits of hell! It’s a slightly more upbeat ending but it couldn’t be any less really for ‘Of Immortality’ but still it’s a sound mired of deepest downcast doom and there is not much on the whole to actually enjoy about this album. Some would say that is the point of this style of doom but I feel I have to reflect it in the mark. WDISS really are for those who vegetate in depressive states. Cover art is nice though!

Author: Pete Woods

What I have here to review is the second full-length of the Russian band Who Dies In Siberian Slush, which makes some noise that could be classified of being somewhere in between of funeral doom and death metal styles. Yours truly is not familiar with the previous material by the group, so I cannot compare this newest album on that either.

The speed rate on the songs are never that fast, but instead the atmosphere is created by heavy and slow riffing and crushing feeling that drags on. But then again, the music does not go on serious crawling speed either. Slowish tempo should not come as a surprise though, as it is funeral doom we are talking about. I think that this group can handle handles their atmospheric side on their music very well. Sometimes the guitars have a bad habit to go into some kind of a crazy guitar solo and/or masturbation mode, but personally I did not really find any real purpose for these parts and they felt a bit separated. When the listener is spared from these unnecessary parts the songs also tend to have good ambiance on them. The vocals are also pretty aggressive with death metal -like growling which really fits the music well. Also the keyboards that are used adds some nice variation to the music.

The songs are not really that imaginative and maybe this album is plagued a bit by evenness in the end, but there are also the good moments that fortunately are not that rare either. In my opinion We Have Been Dead Since Long Ago… is pretty decent album, a bit above the average I’d say, even though it does have it’s problematic parts too that did bother me.

Author: Aleksi Vaittinen

В конце года российские похоронщики Who Dies In Siberian Slush решили тоже подкинуть подарок под ёлку своих поклонников. Вообще думовая сцена в этом году радует как никогда. Релизов великое множество и они все отличились высоким качеством. Вот и данная формация не стала исключением, хотя до дебюта все же не дотягивает, но это только моё личное суждение. В остальном же есть все элементы присущие стилю, медленное завораживающее действо, вгоняющее в тоску и меланхолию. Поклонники российского дума должны оценить по достоинству, я думаю. Ну а оценочка 4/5 будет вполне заслуженной.

Author: SatanicPanzer
Славянская Культура

Со звуков электросварки начинают WDISS.
А я подумал, а где же «весна», я «весну» как трэк ознакомительный слушал. Ибо на первой компо хаос присутствует как при рождении небольшой галактики. Дэт-дум тут нарисован широкими мазками, а и может даже экспериментальный экстрим-метал. Короче, не то, что нам успешно предлагали под брэндом WDISS.
Намбер 2 начался с перебора по черно-белой колоде, а вот потом пошел нагружать окружающее пространство мизантропией и нетолерантностью. Категорически настаиваю на дэт-думе. Именно так трактуется этот стиль. Красиво здесь опрокидывают на слушателя многотонную монументальную картину — есть, на что посмотреть. Здесь спрятаны реальные русские архетипические куски музыкального настроения. Кстати, послушав даже эмптревый вариант, слушатель будет стремиться заценить реальный диск, ибо прописан он настолько клево, что объемность из него просто прет.
In A Jar принципиально более думовая, настраивающая самые ранимые чувства на оселке из чистейшего гранита /то ли базальта/.

А вот и весна. Мне кажется небезосновательно группа выбрала ее в виде промо-трэка. Да и дело тут вовсе не в ксилофоне, потому что это не ксилофон. Вероятно, на этой компо группа производит небольшой эксперимент по лоботомии, умело тыкая звукопостроением в малозагруженные участки головного мозга. Проверяя на реакцию и наблюдая за показаниями приборов. Да уж, эти люди в белых халатах совершенно не милосердны, и никакой клятвы Гипократу они не давали (да и никто не дает, это просто выдумки досужих писак, спросите любого врача).
Там есть еще две компо, но, к вашему счастью, у меня уже кончились буквы на клавиатуре.
Резюме. Это отличный альбом.

Author: resurgam
Pest Webzine

After a successful debut album WDISS are back with another discharge of Funeral Doom Death Metal, this second full-length album although being made of only 6 tracks is totaling almost 45 minutes. Multiple old-school Death Metal guitar riffs and leads are blending in with a depressive, slow paced and oppressive rhythm section topped up by deep growls. At times I felt like the guitar leads are a bit too shiny for the overall atmosphere and the drums are too rough, but in the end I liked this new album quite a lot. I don't know how the Funeral Doom community will receive these heavy Death Metal influences but I'm sure fans of old English and Finnish Doom Death Metal will enjoy it.

Author: Adrian
Iye Zine

Secondo uscita su lunga distanza per i moscoviti WHO DIES IN SIBERIAN SLUSH, dopo il buon esordio Bitterness Of The Years That Are Lost datato 2010.

Il nuovo parto della band guidata da E.S. (Evander Sinque) si colloca nella scia del suo predecessore senza rappresentarne, di fatto, un’evoluzione vera e propria: We Have Been Dead Since Long Ago è il classico nero monolite dalle sembianze funeral death doom che, volendo fornire un indirizzo di massima a chi intenda approcciarlo, si colloca più sulla scia dei tedeschi Worship che non su quelle dei concittadini Comatose Vigil o Abstract Spirit.
Infatti, non aspettatevi le dolenti aperture melodiche caratteristiche del funeral doom russo, visto che i WDISS badano maggiormente ad un impatto di matrice death, accentuato dalla rinuncia all’uso delle tastiere.
Non per questo il lavoro è trascurabile, brani lunghi e avvolgenti come, per esempio, In A Jar e The Spring possiedono più di un momento degno di nota, ma ciò avviene, guarda caso, proprio quanto le chitarre tracciano linee melodiche che spiccano proprio perché normalmente sacrificate all’interno del disco a favore di riff più rocciosi.
Come detto, We Have Been Dead Since Long Ago paga forse il confronto con il suo predecessore che, senza dubbio, aveva dalla sua una superiore freschezza compositiva, oltre a una maggiore linearità di fondo.
Discorso a parte lo merita un brano come Funeral March n°14, sicuramente affascinante pure nel suo incedere grottesco, ma oggettivamente un pò fuori contesto a livello stilistico; provate a immaginare una banda che, nell’accompagnare il defunto nel corso del suo ultimo viaggio, suoni una marcia funebre come se fosse un brano funeral doom: esperimento apprezzabile ma solo parzialmente riuscito
Complessivamente questo lavoro merita senz’altro l’attenzione da parte degli appassionati delle frange più estreme del doom, ma la sensazione che resta è quella di un’opera incompiuta, dove passaggi di grande impatto emotivo si confondono con altri più manieristici.
L’impressione finale è quindi, quella di un disco di passaggio: gli WHO DIES IN SIBERIAN SLUSH hanno le potenzialità per fare molto meglio e non ho dubbi che ci riusciranno in futuro; per ora solo una sufficienza piena, ma con la certezza che si può fare senz'altro meglio di così.

Author: Stefano Cavanna
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