Doomsday Astronaut - Djent Djinn [Full-length Review in ENGLISH]

DISCLAIMER: FOR REASONS THAT HAD TO DO WITH COPYRIGHT CLAIMS, WE HAD TO REMOVE THE PARTS CONTAINING THE MUSIC OF THE BAND, AND LEAVE ONLY THE REVIEW. THANK YOU FOR UNDERSTANDING! #DoomsdayAstronaut, #FulllengthReview, #ProgressiveHeavyMetal, #DjentDjinn, #MelodicThrashMetal
Band: Doomsday Astronaut
Full-length: Djent Djinn
Label: A for Aleph Records
Country: Pakistan / Romania | Year: 2023 | Genre: Progressive Heavy Metal with Melodic Thrash Metal
What is truly impressive in here is the way in which the guitarist throws himself into his musical expression (because the whole release is about a refined, ethereal, and even cinematic shapeshifting expressionism) and the way he manages to run on many angles of the volumetric curves and of the “cylinders” of the guitar engine and still remain serious in his playfulness. Millions of notes, of course, but never at the cost of a tuneful melody.
And so he manages, after each guitar virtuosity, to leave some independent and impossible to erase traces, everywhere where those riff pass; he manages to combine aerial alarmist grooves and high notes squeezed up to the limit of a strange paroxysm with accentuated hypnotic and bombastic coldly-melancholic desert tunes. And the essential thing in here is that this combination of alarmist grooves and high notes with a Fata Morgana superior desert mirage MAKES the listener feel at home. And when you make your listener feel at home, you as a guitarist have won the battle with your racing guitar lines and with your delicate guitar moments. And what is also fascinating about his style is the refinement of his phrasing in the sense that his guitars talks to itself on different voices and constantly gives itself feedback inside the very same instrument played by the very same person.
And there is also another interesting element which perhaps also makes Waqas such a special: guitarist: there are special moments of playful improvisations at repetitions that are very hard to capture (again!) on the final album, and he kind of manages to bring into the final result all small special unrepeatable moments that he came across at certain points, not allowing for anything special to be lost. Pretty much like it happens in gymnastics, where it is a known fact that gymnasts jump very high during their training sessions and constantly exceed world records, but they do not succeed in the same thing in official competitions.
This is the kind of album on which guitarist Waqas Ahmed uses the process of reaching further into his musical self to bring out some REALLY GOOD INSTINCTS, INSTINCTS that are much needed when exploring deeper and haunting desert dunes, that entail richly absorbing light and spectrums. This is the kind of album that has the ambition to PAINT THE FACE OF THE ‘Faceless’ ONE, in an instinctive manner. This album is all about exquisite, inventive, expressive and enduring INSTINCTS which make the songs reflect and absorb AT THE SAME TIME. And by the grace of these instincts you can actually hear how the musician FEELS HIS OWN FATE, and the sense of his fate. We are talking about a highly alluring flair that is not afraid to seek a darker variety of meters and range of textures.
It is an album that is sung with a strengthening confidence in life, that reminds me of that story written by Antoine de Saint-Exupéry, where a plane collapses in the desert. The survivors go the first days believing that they will find an oasis. when they realize that the chances of finding an oasis are rather small, they simply move forward, "for the sake of walking". This says something about that truly sincere confidence in life.
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