Time Signature Ghosting...

Genre: gothic death-doom

The term 'melodic death metal' has more or less become synonymous with the Gothenburg style of melodic death metal, but we have to remember that death metal can be melodic in many other ways. The American band Daylight Dies is here to remind us about this fact, with their latest album A Frail Becoming as the undeniable proof.

The most prominent death metal feature of the album is the growled vocals (delivered by Nathan Ellis, while bassist Egan O'Rourke delivers clean vocals), but in essence the music on this fine album is a slightly harsher type of gothic doom metal which features crunchy riffs and overlaid guitar harmonies and, at times, almost lush textures. The general atmosphere is considerably melancholic, and should appeal to fans of both gothic metal and doom metal. A stable feature is, of course melody, which takes the shape of both harmonies and guitar leads (of which you can here a fine example in the beginning of 'Sunset') as well as acoustic passages and keyboards. Another melodic feature is, of course, the use of clean vocals – which have a bit of an Åkerfeldtesque feel to them.

The production is clean and crispy, and the musicianship impeccable. These guys know how to put catchy and melancholic melodies together and, although Daylight Dies, have feen accused of repeating themselves on this album, I think they have done a magnificent job of it, and – hell, if it ain't broken, why fix it?

Drawing on the melodicism and dark atmosphere of gothic metal along the lines of Paradise Lost and combining this with elements from death metal, A Frail Becoming is incredibly melodic and compelling, inviting the listener to revel in the album's very tasteful music. Fans of gothic death metal should not sit this one out.

(review originally posted at seaoftranquility.org)

Pelata Admittedly, I haven’t given Daylight Dies very much attention at all since their debut Tribunal Records EP, entitled Idle. Back then, I saw them as a natural offshoot of Opeth (with hints of early Katatonia). They employed slower tempos, melancholic melodies, and an overall dark presence. With Lost To The Living being the first thing I’ve heard by the band (in it’s entirety) since, I can say that all those elements are still there, yet they are honed to near Goth-Doom perfection.

The mood of this album, which in all honesty is the true essence of any album, is a stunning example of bleakness and beauty combined. The guitar melodies, placed almost like a violin would be placed in a requiem, are fluid and melodic…almost lyrical…at times reminding me of what later Saviour Machine has done. The vocal production is stellar and the overall sonic tone of the album is superb. They’re not wasting energy trying to re-invent the genre, but rather are applying it to making the best music they can in their chosen field. They’re becoming a band that can easily hold their own with genre veterans like Paradise Lost and the aforementioned Opeth and Katatonia. When a band can do that while still maintaining their own identity, as Daylight Dies had done, it is something to behold.

It’s a complex, deep album that doesn’t overindulge in musical technicality. Yet, when they do show their chops, as in the lead break of “A Portrait In White”, they prove they are a true musical force. Other highlights include “Woke Up Lost” (arguably the most depressing cut on the album), instrumental masterpiece “And A Slow Surrender”, and opening cut “Cathedral”. The near eight-minute closer “The Morning Light” ends the album in perfect fashion with copious amounts of Doom, Gloom and crunch. Now I need to go back and see what I missed between Idle and now.