Released: Apr 21, 2009
Genre: Groove Metal
Label: Roadrunner/Century Media
Number Of Tracks: 11
There’s still plenty of interest to be found, at times however it can be difficult to find it amidst the wash of unspectacular riffs and vocals.
The ConcealersFeatured review by: UG Team, on april 23, 2009 3 of 7 people found this review helpful
Sound: Aside from their fairly exotic name, the aura Daath exudes is very much that of the â€˜modern metalâ€™ style; a genre that, while non-existent, manages to thrill Lamb Of God fans across the globe. I donâ€™t mean to offend, but thatâ€™s about the only weight the term has. Itâ€™s not a stigma that was entirely deserved by Daath, itâ€™s an unfortunate combination of aesthetics, production and, indeed, record label. A quick listen to 2007â€™s â€˜The Hinderersâ€™ will instantly dismiss that clone status, as there was something very fresh there. Sadly this album barely compares in terms of originality. Thereâ€™s a peculiar balance between the overused and the curious; triggered double-click and pedal points accompany only moderate dashings of the bands semi-industrial sound and their very daunting sense of harmony. Despite not quite pushing things enough to become the truly unique band they clearly want to be (and to an extent used to be), there are moments throughout â€˜The Concealersâ€™ that gently nudge at genre boundaries, e.g. The doomy outro to â€˜... Of Poisoned Sorrowsâ€™.
â€˜The Hinderersâ€™ was produced by James Murphy, a man who has thoroughly earned his metal tenure with legends such as Obituary, Death and Testament. â€˜The Concealersâ€™, however, was produced by Mark Lewis and Jason Suecof who have produced records by the not-so-legendary Trivium, All That Remains and Chimaira. The contrast here is absolutely crystal-clear; â€˜The Concealersâ€™ has an airtight, highly disinfected sound which is free of past plagues such as attitude, lasting character or bass frequency. // 6
Lyrics and Singing: Ah, the new vocalist. Itâ€™s never easy to recover from the departure of a frontman; however it can often be the catalyst for the reinvention of a band. Whilst Daath have obviously changed since their last album, it canâ€™t be denied that the new vocalist, Sean Z, has blatantly been cut from the cookie of the southern US, home to Phil Anselmo, Randy Blythe and all the other names that just fade into each other. Thereâ€™s nothing inherently wrong with his vocals, but when coupled with the typically Roadrunner production thereâ€™s very little to be inspired by. One plus point though is the lyrics, which are concise and well-written if not as abundant in personal philosophy as previous releases. // 6
Impression: Maybe itâ€™s just cynicism, but when I listen to this record I can already see the special editions on HMV and Best Buy shelves, featuring studio diaries, expanded artwork and bonus tracks. I can see opening slots on US package tours. I can see all the same stuff that is part of an album cycle for a â€˜modern metalâ€™ band. Thereâ€™s still plenty of interest to be found in â€˜The Concealersâ€™, it can just be a mission to distinguish it amidst the wash of unspectacular riffs and vocals at times. The future looks bright for Daath, with a fine promotional backing and opportunity aplenty, but musically it is imperative for them that they build upon the natural flair of â€˜Translucent Potencyâ€™ and â€˜... Of Poisoned Sorrowsâ€™, rather than the dangerously bland â€˜Waiting On The Vineâ€™. // 6
AJSaw, on july 29, 2011 0 of 0 people found this review helpful
Sound: Another user put it well to state that they had a sound that could interest Lamb Of God fans, which is true, but I believe this band has a sound unique to only themselves. Sure, it's modern metal, but unlike a majority of bands out there, you can hear influences pulled beyond metal's main influence, classical, hearing hints of progressive styling and even jazz. The lead guitarist, Emil Werstler, is able to pull off a bunch of jazz theories and sounds on this album if listened closely. Some listeners who aren't a fan of genre blending might not like it for that reason, but I believe it's definitely a breath of fresh air in the metal world. // 9
Lyrics and Singing: I'm not one to focus much on lyrics and how they fit with "themes", and in this band I'm drawn more to the instrumental parts. The lyrics are rather dark, for example in "The Worthless". With the new addition of vocalist Sean Zatorsky the style of the lyrics has changed, and hits you with more power in my opinion than on albums like "The Hinderers" and their debut "Futility". I like this singer more than the other, if not for lyrical content then for his sound. // 7
Impression: Daath is a hard band to place against other bands, even though they are "modern metal", as they will have some major differences in sound and influence. This is one of my favorite albums at the moment as a jazz/metal guitarist, because as influential it is to ones playing. I would say the highlights are definitely the sound as a whole, the band members seem to compliment each other. My favorite songs off it are: "Self-Corruption Manifesto", "The Worthless", "The Day Of Endless Light" (which has a great jazzy guitar solo), "Duststorm", and "...Of Poisoned Sorrows". It did take me a while to like this album, but after a few listens the playing and newer sound grew on me. If it were stolen or lost, even though I have it physically and digitally, I would get it again. It's a strong album, not for the faint of heart, but has some great songs and styles. // 8