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

funeral death doom, Solitude Productions, Solitude Productions
533.33 Р
Price in points: 800 points
SP. 069-12 x
In stock
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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 5:48
2. Refinement Of The Mould 9:10
3. In A Jar 6:11
4. The Spring 8:10
5. Funeral March №14 7:39
6. Of Immortality 6:22

Artist:
Who Dies In Siberian Slush
Artist Country:
Russia
Album Year:
2012
Title:
We Have Been Dead Since Long Ago
Genre:
funeral death doom
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat Num:
SP. 069-12
Release Year:
2012
Barcode:
4627080610163
Country Of Manufacture:
Russia
Review
Metalstorm
7.2/10
25.07.2013

About 2.5 years ago I reviewed Bitterness Of The Years That Are Lost by Who Dies In Siberian Slush. It was my first review for the Solitude Productions family. 29 months later they now mark my 60th review for Solitude Productions with We Have Been Dead Since Long Ago. (Yikes, that's a review every two weeks just for them… wonder if their health care plan will cover my carpal tunnel?)

So back to the album at hand.

The album opens with a homage to Marvin Heemeyer, a resident of Colorado who snapped over a zoning dispute, armored up a bulldozer like it was an Imperial Walker, then treated Granby, CO like said Walker did Hoth. He ended up demolishing 13 buildings, including the former mayor's house. Rather than just describe the track like I normally would, I'll encourage you to experience it yerself. Song is here and Killdozer footage here..

Mute the talking heads, crank the Siberian dead and enjoy. If you time it right, it's every bit as magical as "Dark Side of Oz". Only with more 'splosions.

The track is also pretty awesome as the band really deviates from just slow death doom, kicks out the tempo to one befitting a cement and steel armored bulldozer leveling South Park. Not too fast, it's a bulldozer ffs… They also incorporate sound bites of the incident into the track as well.

Unfortunately the rest of the album doesn't quite live up to the horribly amusing theme and energy of that first track. I described their prior effort as "the soundtrack to a 40 year Gulag sentence", which not only accurately fits most of the rest of the album's slow and woe tempo death doom, but probably also fits the price for going on said bulldozer rampage. Only this time they go a little more pyrotechnic on the soli.

Finally, "Funeral March №14" is a pretty cool little number which mixes your standard death doom funeral dirge with a little bit of the jazzy Dixieland feel (think the scene in the Bond flick, Live And Let Die) - it's a bit of an oddity, but in a good way.

Perhaps I focused a bit much on the opener, but it stood out and if it got even a couple of you to check it out, then mission accomplished.

Author: BitterCOld
Review
Chronicles of Chaos
8/10
28.07.2013

Who Dies in Siberian Slush (WDiSS) were a fine melodic doom/death band releasing strong material, albeit not the most original of the lot.
Not anymore.

WDiSS version 2013 is bleaker, more skeletal and altogether cruder an entity compared to the band's majestic and highly melodic debut.

Verging on being an all-out funeral doom act, they have released a sad, sad album dealing with life's horrors and unbearable existence. The melodies are simple and stern and on par with the disheartening texts, the riffs are melancholic and infecting, the vocals are inhuman, and the whole package is one hell of a misery-inducing album -- it actually re-writes the definition of 'depressive music'. _Not a Gleam of Hope_ should have been the title of this second album, its sad radiance glowing in black light of Siberian frost and human rot.

Interestingly enough, the bleak music captured on _We Have Been Dead Since Long Ago..._ is rather catchy and quite enjoyable, mainly because the songs are highly melodic in their own crass way, they mostly bear that familiar flavour and yet they dodge the style's clichés elegantly.

Albeit sounding simplistic, and to extent also reminiscent of some older bands from the style's infancy days (American band Winter come to mind, but also German legends Worship...), and despite the fact the music has been granted with peculiar dynamics (many dragging sections, many halts in the natural flow of the tracks) the listen is rewarding to say the least.

Having an ancient sound that has been slightly updated, this album sounds like a classic doom-oriented death metal from the '90s having been re-recorded or something like that; an era where bands were capable of delivering atmospheric melodies without the need of introducing gimmicks and additional factors into their music, other than the very basic instruments, sounding both ancient and primitive yet extremely captivating and awe-inspiring.

_We Have Been Dead Since Long Ago..._ is such an album. Check it out and prepare to be blown away by this reaping, malevolent melancholy!

PS: Track five is a metallic interpretation of Chopin's Funeral March classical piece, a brilliant instrumental track even for those who are not familiar with the original. That track alone is worthy of a purchase.

Author: Chaim Drishner
Review
Pitchline Zine
7/10
17.07.2013

Nos acercamos a la fría y lejana Rusia para comentar el segundo larga duración, que vio la luz en 2012, de este cuarteto ruso, tras la edición en 2010 de su primer trabajo 'Bitterness of the Years That Are Lost'.

La verdad es que las sensaciones han sido muy buenas, sobre todo tras la escucha del primer corte del disco, "The Day of Marvin Heemeyer", un tema que te asalta y te atrapa por su creatividad, originalidad y sentimiento, en el que se combina la pesadez del Doom con acordes y ritmos más dinámicos dando como resultado una deliciosa mezcla de oscuridad y belleza en la que se destapa el talento creativo de estos moscovitas. Después, nos vamos a adentrar sin remisión en el estilo que va a marcar el disco, a saber, un Funeral Doom paradigmático, tanto en las formas como en el contenido. Dolor exasperante, melancolía brotando y fluyendo, derramándose con cada nota es lo que temas como "In a Jar" o "Refinement of the Mould" nos van a ofrecer. La temática de las letras también entra dentro del marco estilístico en el que se encuadra la banda: eternidad, tormento interior y evocación de la naturaleza inspirada, en este caso, por la desoladora presencia de la Taiga rusa, como en "The Spring". "Funeral March nº14" es lo que su propio nombre indica, una marcha funeral, instrumental, solemne, de cadencia, cómo no, depresiva. El disco concluye con "Of immortality" donde el aflora el alma romántica que, de una manera u otra, siempre subyace a este estilo, recogiendo la herencia de los sempiternos My Dying Bride o de los no menos importantes Shape of Despair.

Personalmente he echado en falta algo más de oscuridad y, quizás, un mayor riesgo en la faceta creativa, algo que se nos prometía con el primer tema, pero que acaba diluyéndose un tanto según avanza el cd. No quiero decir que este trabajo sea malo, sin embargo puede pecar de ser demasiado genérico visto en su totalidad. De todas formas, creo nos encontramos ante unos buenos músicos que demuestran ser capaces de alumbrar buenas ideas, materia prima necesaria a la hora de componer y que, tal vez, solo necesite un poco mas de consistencia y personalidad para que produzca unos resultados de mayor envergadura.

Author: Jaime Fernandez
Review
Metalizer
5/5

Москвичи Who Dies In The Siberian Slush своим лихим дебютом показали всем, что не намерены валяться в сибирской грязи, разом отвоевав теплое местечко в авангарде отечественной дум-сцены. Тут впору задаться вопросом - был ли этот взлет случайным? Нет, чудесами здесь и не пахнет, материал "Bitterness Of The Years That Are Lost" оттачивался около четырех лет, за это время, с немецкой педантичностью, музыканты смазали и настроили даже самые крохотные детали. Такая кропотливая работа достойна восхищения.
По какой-то неизвестной причине все ждали, что группа продолжит играть в прежнем ключе. С чего бы это вдруг? Еще по сплиту с Ego Depth мне стало понятно, что музыкантов унесло в несколько иные дебри. Приготовьтесь к тому, что на новом альбоме со сложносочиненным названием "We Have Been Dead Since Long Ago" нет даже намека на фьюнерал! Новый курс группы - это жесткий дум\дэт с целой кучей оригинальных идей и фишек. Я с заметной неприязнью отношусь к экспериментам, потому что зачастую результат выходит противоречивым или вовсе непотребным. Перед нами первый случай. Дело в том, что альбом весьма сложен для восприятия, - да, он может похвастаться разнообразием и наличием красивых мелодий, но вот понять его с первого раза практически невозможно. Только когда я прогнал его целиком три-четыре раза в своем плеере, меня внезапно настигло озарение - какая трагичность, безнадежность! В чем состоит противоречие? - спросите вы. Придется начать с немного неожиданной стороны - сути искусства вообще. Вероятно, вы слышали про "Черный Квадрат" Малевича? Вы понимаете, в чем состоит гениальность этого полотна? Почему картина получила такое признание? Так вот, искусство эгоистично по своей природе и любому человеку потребуется время, чтобы познать суть (то бишь гениальность) определенного произведения, а может выйти и так, что он уйдет, недоумевающе покачивая плечами. Абсолютно идентичная ситуация сложилась с рецензируемым альбомом - вы его поймете или нет. Золотой середины здесь не существует, как класса.
Что мы имеем в итоге? Оригинальную и самобытную работу, не имеющую аналогов в мире, причем жутко недооцененную. Альбом должен прийтись по нраву любителям сурового, "мужского" дум\дэта, которым осточертели приторные клавишные и женский вокал. Релиз предоставлен Solitude Prod.

атмосфера -5,
реализация - 5,
материал- 5,
техника - 5.

Присутствует: Профессионализм, Оригинальность
Отсутствует: Funeral doom, Недостатки

Author: Валерий Галатинов
Review
Destructive Music
9.7/10

Who Dies In Siberian Slush has been formed in April 2013 by Evander Sinque in Moscow, Russia. The band has released so far three demos, two full lengths and a Split with Ego Depths.

Impressive from the very beginning, the band brings a new album in 2012 called “We Have Been Dead Since Long Ago…” , an amazing piece of work for funeral doom lovers. A must have for any impassioned of this genre.

The album is a magnificent one, clearly symbolizing, by its suggestive title, the loss of all life, all hope , the imprisonment of human thoughts and inclination towards a self destructive set of actions.

Blatantly, the album starts with “The Day Of Marvin Heemeyer”.

For those who do not recognize the name, Marvin John Heemeyer (October 28, 1951 – June 4, 2004) was a welder and an automobile muffler repair shop owner.

Outraged over the outcome of a zoning dispute, he armored a Komatsu D355A bulldozer with layers of steel and concrete and used it on June 4, 2004, to demolish the town hall, the former mayor’s house, and other buildings in Granby, Colorado. The rampage ended when the bulldozer got stuck in the basement of a building he had previously destroyed. Heemeyer then killed himself with a handgun.

Conceptually, the music is disturbing, knitted with passages from documentaries about the MH happening, quite progressive to be honest, but this works out perfectly with the tone of the composition.

Moreover,the gravity and the timber of E.S’ vocals puts things in right order, if you’d like to have your thoughts pierced by a bullet.

Vocals, I may add, are powerful,grave,low and guttural ,here and there , and that’s one thing one cannot but be hit straight in the epicenter of the brain with.

Following the tracklist, the music flows in naturally, almost too perfect to be true. A good combination of torment and honey-as some would say, absolutely in tone with the whole idea behind the music,concept and ideology.

My favorite would have to be “Funeral March -14″, an absolutely fantastic piece of work, a facade of an unknown fallen deity, a somber apogee of sadness, straight from the grave’s depths.

Extremely enjoyable, tensioned, well conceived, “We Have Been Dead Long Ago” is probably on my top 10 favorites for 2012!

Author: DANIEL DUMITRU
Review
Lords of Metal
8.3/10

Zo, het Wit-Russische Who Dies In Siberian Slush komt twee jaar na hun funeral doom debuut 'Bitterness Of The Years That Are Lost' met de meer black metal getinte opvolger 'We Have Been Dead Since Long Ago'. Alle registers worden opengetrokken, met name in opener 'The Day Of Marvin Heemeyer', en men stoomt in veel snellere vaart dan we gewend zijn doorheen de loodzware en met kommer en kwel doorregen zes nummers heen. Uiteraard niet de gehele tijd, er is nog namelijk ruimte voor de gevoelige snaar en de tranentrekkende solo's van het debuut. Maar de hoeken en kronkelingen in de muziek zijn talrijker en dat klinkt zowaar verfrissend! Met dat ingetrapte gaspedaal komen bands als My Dying Bride en Empyrium komen om de hoek kijken. Met al een verrassende maar herkenbare tweede stap voor een band die het omwille van hun geografische ligging moeilijk zal hebben door te breken. Aan hun kwaliteiten zal het niet liggen!

Author: Erik
Review
Femforgacs
7.5/10
26.05.2013

Solitude Productions. Azt hiszem, ez a név ma már elég sokat elárul arról, mire is számíthatunk az éppen birtokunkba kaparintott zenei produkcióról. Ez a kiadó gondozza a 2003-ban még Evander Sinque (E.S.) egyszemélyes projektjeként indult Who Dies In Siberian Slush nevű, mára komplett zenekarrá formálódott társaság lemezeit is, akik immár másodjára szabadítják a világra depresszióval és kilátástalansággal átitatott zenéjüket. A zenekar leghőbb vágya a magányosan elhunyt, mohával belepett orosz holttestek méltó búcsúztatása, az elmúlás és fájdalom húsba maró tényének hangoztatása. Ezért mindent elkövetnek, hogy még egy eltévedt napsugár se tudjon a borítón látható kunyhóba jutni, ahol életre kelnek hangjegyeik felverve az évszázados porszemcséket és megrezegtetve a halállal átitatott levegőt. Koncepció húzódik a lemez mögött, folytatva a debütáláson megkezdett utat. A dalokkal tipikus orosz hangulatot szeretnének teremteni népzenei elemek segítsége nélkül és ez részben sikerül is nekik. Zenéjük a funeral és death/doom egyvelegéből táplálkozik, egyaránt előfordulnak a málhás cammogások és a végtelenbe nyúló monolitikus kalandozások az első ránézésre rövidnek tűnő albumon (mindössze 43 perces játékidő). A rövidség persze csak látszat, mert a súlyokat cipelni kell, amit a nyakunkba aggatnak, van ahol kínkeserves léptekkel, de pár ostorcsapással néha meg is futtatnak. E.S. hörgéseit csak kevés alkalommal kíséri narráció, a lemez egészére a karcos, inkább erőszakos, mintsem mélyen gyökerező hörgés kíséri. A billentyűk és effektek többször a háttérbe szorulnak a riffek nagy örömére, máskor az én bánatomra, mert elég nyomasztó dolgokat sűrítettek a háttérbe.



A lemez első dala a The Day of Marvin Heemeyer. Érdekes témaválasztás, az biztos. Marvin Heemeyer arról vált ismertté, hogy 2004-ben egy saját készítésű, páncélozott bulldózerrel tette a földdel egyenlővé a neki nem szimpatikus emberek házait. A városházával egyetemben 13 épületet bontott le majd főbe lőtte magát. Vidám kis történet és egy a végére felgyorsuló, erős nyitódal. A Refinement of the Mould azonban visszaevez a sötétebb funeral vizekre, ahol a penész lepte valósággal kell farkasszemet néznünk. Egyszerű zongorás betéttel nyit a dal, ennek ütemét veszi át a bánatosan zakatoló gitár, hol sírva, hol az orosz bányák mélységeiben zengve. Minőségi doom ez, de sajnos bármiféle meglepetés és egyediség nélkül. A lemez egészére jellemző az útkeresés, a minimális ötletelgetés, de eredeti hangot még nem igazán sikerült megütniük. Ha a zene egy komor, öreg erdőre hasonlít, akkor az ötletek és finomságok a bokrok alatt lapulnak, de a debütáláshoz képest sokat fejlődtek és annál mindenképp izgalmasabbak tudnak lenni. Jól indul például az In A Jar, kifejezetten erős billentyűvel és valóban fagyos, szívszaggató hangulattal. Komoly problémákkal küzdhetek, mert ezt a nyomorúságos tételt széles vigyorral hallgattam végig, mély elégedettséggel, hogy ezt így kell. Hasonló hangulatban, néhol monumentálisabb gitártémákkal jön utána a The Spring, ahol panaszra ismét nem lehet okunk, de már kevésbé tud lekötni, mint az elején. Itt jön amit már korábban említettem, hogy koncepciót szeretnének…azonban még nem igazán érezni az egybe rántó erőt, hangulatot, inkább egyedülálló ötlet szigetekről beszélhetünk a mocsárban itt-ott felbukkanva. A The Springben is vannak ilyen szigetek. Átlagos málházás keveredik a fájó, fojtogató légkörrel. A dal vége felé kevesebb éneket kapunk, a hosszadalmas zenei utazás így ki tud bontakozni és előkészíti a Funeral March №14 c. instrumentális tételt, ami egy valódi orosz temetés hangulatát képes megidézni. Kopár, sivár világba vezet, amit még én is csak sokadszori hallgatásra kezdtem el igazán értékelni. A produkció végén az Of Immortality kapaszkodik korhadó ujjaival a hallójáratunkba. Meglepetés már itt sem érhet minket, tisztességes iparos munkaként lehet jellemezni ezt a dalt, akárcsak az egész albumot. Kevésbé sötét, mint az új Abstract Spirit lemez, de mégis ehhez áll igazán közel hangulatilag és hangzásban is, de megemlíthető még a My Shameful vagy a Mourning Beloveth világa.
Túl sok kiváló lemez jelent meg az elmúlt években ebben a sötét világban ahhoz, hogy a WDISS ezzel a zenével átugorja a sablonosság buckáját, de azért egy kellemes lemezzel örvendeztethetik meg a doom kedvelőit. A lehetőség nagy a zenekarban, talán legközelebb beérik a valódi egységesség és hangulat, saját ízvilággal keverve.

Author: boymester
Review
Darkview
5/10
20.05.2013

Tweede plaat van een gezelschap uit Moskou dat officieel als funeral doomband door het leven stapt, maar in de praktijk niet goed weet van welk hout pijlen maken.

Toegegeven, de meeste nummers kruipen tergend traag voorbij, maar ze missen elk gevoel van sfeer, passie en gedrevenheid. Lijkt wel alsof deze mannen funeral doom maken voor de lol. Neem nu opener “The Day of Marvin Heemeyer”, een schizofreen nummer dat schippert tussen lompe death en even lompe doom. Het overgrote deel van het album erger ik me aan de slordige, dissonante speelwijze en de overdreven smerige splattergrunt die evenmin bijdraagt tot een ingetogen funerale sfeer. Eigenlijk kon enkel “In a Jar” me bekoren als volwaardig, smaakvol doomnummer, ingeleid door fraaie koperblazers. Maar het absolute dieptepunt was toch “Funeral March Nr14”, of hoe een meesterwerk uit de klassieke muziek tot in zijn diepste vezels verkracht wordt door een stelletje Russen die te diep in het wodkaglas hebben gekeken.

Author: Luckifer Deville
Review
Brutalism
2/5
15.05.2013

This is a death/funeral doom band from Russia who have a slight flavour of morbid reality ingrained in their minds. The tracks are long, the sound is very powerful and the vocals are pretty demonic. ‘The Day Of Marvin Heemeyer’ has some cool death metal riffs and tempos but they are primarily lost behind sound effects on occasion, and if you want to know about Marvin Heemeyer… well he was an American guy who went on a rampage in the US with an armoured bulldozer, demolishing most of a town including the mayor’s house and subsequently shot himself. ‘Refinement Of The Mould’ is thoroughly funeral doom, the death metal rasp vocals are however do vile and regurgitate that they are quite undecipherable, a shame in some respects because with such a powerful repetitive musical style, you need more to keep your interest fulfilled.

‘The Spring’ has a little bit more brightness under the gloom, there are melodic guitar tones riffing and soloing part way through that really give an atmosphere to the track, this sounds much more passable and more of a tune that you can sit back and chill too without becoming a massive depressive. The same goes for ‘Of Immortality’, this has some mixing that makes you check your speakers for the correct connections and the sound passes between the left and right channel in some places, much like the opening track in fact.

You are in for a long drawn out process with this album that often finds you willing the album to end very quickly. If you listen underneath the overall soundscape then you may find some areas of brilliance, but these are overshadowed by the long duration of the tracks in general. No matter how much of a reservation I have for this release, it would be fair to comment that there is a market for this out there, but it sounds a little too dull in the grand scene of this style.

Author: Paul Maddison
Review
Metal Revolution
6.8/10
05.12.2013

Russian Who Dies In a Siberian Slush (damn, a long band name) are, as I am certain many of you have guessed by the album title, We Have Been Dead Since Long Ago... a Doom Metal band, following in the footsteps of an old superstition that Russia is filled with suicidal authors and lyricists. Granted, I do not know whether the members of the band are suicidal at all, however their lyrical themes definitey include 'darker' subjects such as depression, alcohol abuse and generally leading a rough live. All in all it sounds like a lot of the other Doom Metal acts out there, yet one thing drew me to this particular band (other than my fascination for Russian culture and history): and that would be a strong Death Metal influence.
Not in the sense, mind you, that it is fast paced and overly aggressive; the Doom aspect is still clearly present and not at all downplayed. Instead, Who Dies In Siberian Slush have distorted their instruments a bit more than usual for a band of their trade (that is what it sounds like to my old pair of ears, anyway), as well as performing the vocal track in a more traditional, yet still slow, Death Metal type growl.

Despite only consisting of six tracks, We Have Been Dead Since Long Ago... still sports a somewhat impressive 43 minutes of ambient music, capable of dragging you to the Siberian wastes and explaining to you exactly how rough life can be in different parts of the world.
While it is not something you are likely put spin on your stereo on a whim, it is definitely worth your time if you have put in a little effort to sit down and fully submerge yourself into it.

Author: Brian
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