DDENT
آكتئاب
(Self-Release)
Parisian heavy rock group, DDENT has been off and on again for the past four years with their past activity limited to a 2014 EP release along with a handful of shows around Europe. They have recently resurfaced and found a new sense of commitment with the result of their forth going efforts culminating into their debut album آكتئاب, which is gaining considerable attention from the underground music press. “Initially, this record was written as one long, extensive track which has a focus around the central theme of being state of melancholy, a decision to go this route coming from a conversation I had with a close friend about Arabic psalms and my fascination with the arts, philosophy and theology of Islam”, explains Louis Lambert [guitars/co-founder] in reference to this record’s conception. The text of the calligraphy artwork reads “ektikheb”, which is the rough translation of melancholy in the Arabic language. The quartet utilize songwriting and chord arrangements that touch he sorrowful notes within our nervous system with eight tracks exploring the landscapes of post metal drone, doom and the dense sound of shoe gaze.
This record is something that an avid listener of heavy rock instrumental groups such as Jesu and Year Of No Light would embrace, unquestioningly. The only distinction this group holds against their contemporaries within their genre is the inclusion of Middle Eastern instruments in a select number of songs, a cultural theme that has a dominant presence throughout the makeup of this record in all aesthetics.
This record holds up well and if DDENT decide to go into another direction with future releases, they can lean on the fact that آكتئاب is a strong opening statement to a hopefully lasting legacy. The compositions are emotional and soul searching with a range of dynamics and presence throughout this effort; it would be not be a speculative to say DDENT’s focus is to write music which challenges themselves. “Arzel” is a strong lead off to the album in part that the group demonstrates upfront a differing range of tone and playing styles throughout. “Ghazel” would have to be the most dynamic and emotional song on the record due to the minor key harmonics ringing over a wash of shoe gaze chords throughout. It takes a few listens to see how each song is comprised of a single track but it is no more clearer than the two final cuts “Julep” and “Azahar” with its segue factor from the build up into a burst of overpowering orchestration to properly conclude the album with an exhibition of all styles shown throughout these eight tracks.
