THE LIVING FIELDS

Refreshing, creative and unlike anything you've heard (or will hear) this year, "Running out of Daylight" by multi-nationalist collective THE LIVING FIELDS is an absolutely stunning release. It is an album of majestic doom that in some ways recalls the works of MY DYING BRIDE and to a lesser extent NOVEMBERS DOOM, yet expands into a space that is entirely its own, thanks to superb arranging that utilizes strings and keyboards to full, uniquely symphonic effect.

There aren't very many bands that can take a European doom template with song lengths approaching double digits and keep the listener's interest every step of the way, not to mention writing such captivating melodies and creating such earth shaking soundscapes. And that includes the 16-minute monster title track. The tune has it all; Jonathan Higgs' (MONSTERWORKS) impressive range of vocal styles, excellent use of strings and piano sorrowful tones, rich textures, suffocating weight, one especially engrossing section of sublime melody, and a movement of quiet beauty with choral support that launches around the 12-minute mark. The tune also defines the overall sound of the beast, one that can be described in simplest terms as "big." It will in fact swallow you whole.

The songwriting of "Running out of Daylight" is a redefining of what it means to be expansive, not the least of which owing to the contributions of violinist/violist Chuck Bontrager and cellist Petar Kecenovici. Let's take a deeper look. Like musical accompaniment to a World War II death march during the Nazi's failed Russian campaign through the ice and snow, "Remnant" kicks things off with a mournful tone, its violins and grand atmosphere indeed reminding of MY DYING BRIDE, while the main melody is nothing short of captivating. Just like he does throughout the disc, Higgs makes an enormous impact with his unique mix of high-register screams, mid-range growls, and a style of doom singing that recalls NOVEMBERS DOOM's Paul Kuhr at his most affecting. On songs such as "Perseverance", shades of symphonic black metal with folk/pagan metal cadences are heard, while attention-grabbing melody is worked into the nine-minute cut in a manner that defies the musical complexity. Melodically speaking however, "Glacial Movements" may just be the album's high water mark. Another nine-minute track, "From Miseries to Bloodsoaked Fields" incorporates psychedelic moments, almost like a 21st Century version of THE DOORS' darkest material, whilst expertly weaving into the mix doom-drenched Viking metal power and heavy up-tempo, riff-centric riff-driven runs, at one point punctuated with one of Higgs' patented banshee screams. At a mere three minutes, the acoustic guitars and light vocals of "When the Walls Go" brings to mind an era closer in time to the 1960s without in any way seeming disconnected from the rest of the album. It too is a stunner. Proving the main point yet again, THE LIVING FIELDS manages to pack more twists into the nine minutes of "Bitterness" that seems possible without a step missed or a seam torn. The band isn't just onto something here; they've captured, imprisoned, and beaten it to a bloody pulp.

However much exposure "Running out of Daylight" has gotten to date it isn't enough. THE LIVING FIELDS' sophomore effort is a slam dunk; no ifs, ands, or buts about it. The geographically stretched acted has nailed it. You really need to hear this one. Brace yourself.