When a far more eloquent scribe wrote of Red Reaper, “Imagine if John Carpenter and Moe Tucker had joined the Sisters of Mercy,” it was almost as if they knew the exact words to use to immediately get my attention. After all, with a soundbite like that, how could you not want to dive in and find out more? I did. And what I found was extraordinary.
Doom Daze is a fantastic sonic experience. Its eleven songs move along on fractured grooves and brooding bass lines, firing off apocalyptic blues and gothic-shaded salvos as they go. It is also an album where analog instrumentation and digital dexterity dance together perfectly, a meeting of man and machine, minds and machinations, a hybrid of binary codes and bottom-end bass lines, ticking beats, and drifting atmospherics.
And so they weave their way through arcane subjects and dystopian futures (or, as they rightly point out, current affairs), giving us Velvets-infused songs such as “Major Arcana” that seem to crawl and creep rather than groove or grind, clockwork beat-driven coolness (in all senses of the word) with “The Last Seance” and even dark cinematic sweeps, “The Helios Sequence” sounding like their alternative take on a score for Blade Runner.
Referencing the past’s most incredible musical moments and using them to create a brilliant sound for the future, “Doom Daze” is both sonically clever and brilliantly relevant, timely, and timeless.
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