Daath: ‘Daath’ Album Review
My first reaction to hearing this album in its entirety was simple: holy shit! What’s scary is this album doesn’t reach its full potential until the third or fourth complete listen. This is an album you put in your headphones for and turn it two pegs louder than you’re supposed to and you experience the journey. The journey just happens to be a brutally heavy and dark 45 minute thorough ass kicking. This is hands down Daath’s heaviest, darkest and most intricate work to date and I cannot put this release down.
The opening track, ‘Genocidal Maniac’, lures you in with guitarists Emil Werstler and Eyal Levi dueling each other and Kevin Talley doing a damned fine job of keeping up on drums for two minutes before Sean comes in to wreck your eardrums with his screams. It quickly sets the pace and puts you in the same state of mind as five minutes into a horror flick when they find the first mutilated dead body and you just have to see more. The album flows seamlessly to ‘Destruction/Restoration’ which is pretty much a clinic in how to kick your ass with brilliant guitars and breakneck drums. ‘Indestructible Overdose’ opens with a quick, somber ten second intro that reminds you of walking into a funeral procession and then rest of the song is breaking everything and kicking everyone’s ass, living or dead, at that funeral. ‘Double Tap Suicide’ is an almost five minute aural assault which displays some of the fanciest guitar work on the album. ‘The Decider’ is heavy and catchy as fuck. It’s amongst my favorite tracks on the album. It gets hard to explain the intensity of every track on this album without sounding monotonous until you’ve given it about five listens yourself. ‘Exit Plan’ is a song that Sean dominates on vocals until the guitars in the middle remind you that you’re listening to two six stringed monsters. As you listen to the album you realize that what sets Daath apart from all of the other bands in the genre is that they are an insanely talented group. This isn’t a band you listen to and say “I like the vocals but I don’t care about the music” or “I love the guitars and the insane drumming but I don’t like the singer.” They are a very tight knitted group that all appear to be exactly on the same page musically and they all seem to have a lot of demons to expel on this album. ‘Oxygen Burn’ slowly builds up to a pretty strange yet cool piece that is more like prepping you for surgery before ‘Accelerant’ dismembers you. These two songs are the soundtrack for when the killer blows up the building from his cell phone on the other side of town and is out looking for his next victims. ‘Arch (Enemy) Misanthrope’ and the following track, ‘Manufactured Insomnia’, showcase exactly what this band is capable of. Between the two tracks it is eight minutes of fine musicianship that is a little more progressive and a little less in your face than the rest of the album. Don’t think for a second though am I calling these songs slow or out of place because they will still kick your ass harder than most bands are capable of. ‘A Cold Devotion’ gets right back in your face and is probably the most addictive song on the album. ‘N.A.T.G.O.D.’ picks right up at the end of ‘A Cold Devotion’ for one more solid punch in the face and one more ball of treats on the fret board. ‘Terminal Now’ winds the album down in instrumental fashion as if the horror movie we were sucked into is about to shoot the ending credits and the killer is on his boat to Mexico laughing at the trail of destruction he left behind.
Enough can’t be said for this album and how great the musicianship on it is. The album will appeal to a lot of people from Lamb of God fans to fans of The Faceless. It is definitely an album that took me a handful of listens to completely appreciate and that will be the only downfall of this album. People without an appreciation for the finer things in music will listen to it once and not understand what I’m raving about because the album lacks fist pumping singles and was obviously made to be enjoyed as a whole experience and not a random song here and there. I am a huge fan of albums like Mastodon’s Crack The Skye that are better on the fifteenth listen from start to finish and this is one of those albums to me. It is safe to say that Daath lived up to all of the hype and anticipation that I had for this release and then some. I will put this in the must own category and put it in my top five releases this year to accompany The Deftones’ Diamond Eyes, Soilwork’s The Panic Broadcast, Poisonblack’s Of Rust and Bones, and Fear Factory’s Mechanize.