ELEHIA

Ukranian band OBIYMY DOSCHY was formed in 2004, with Kiev as their base of operations. Their first full-length production, "Elehia," was initially issued in 2009, and one year later the two-track single "Svitanok" appeared. In late spring of 2011 the band signed to the Russian label MALS Records, which reissued their initial album for an international audience, with the title track from the 2010 single added as a bonus feature.

If you can imagine dark, melancholic music that utilizes details from classical and folk music to flavor a blend of acoustic rock and doom metal within a framework set inside the art rock universe, then you're pretty close to what Obiymy Doschu is all about ? not too far away from a band like Nightwish. If stripped of all their melodramatic elements that is, operatic vocals included, replaced by an approach more subtle and refined with subtle folk music elements added to the arrangements. If any of these descriptions sound compelling, the 2009 version of this production is legally available as a free download from Obiymy Doschu's homepage. Just in case this might be of interest to some of our valued readers.

While I'm writing it's the second day after the Russian invasion of Ukraine, so relistening to Obiymy Doschu seemed appropriate to me. All the songs are based mainly on acoustic guitar, minor chords and a sad feeling in general, so it fits very well in today's mood. Another important element consists in Volodymyr Agafonkin's vocals who sounds very eastern. To my ears he may be singing in Russian, as I can't appreciate the difference between Russian and Ukrainian (not only in terms of language).

His vocals are backed by Hanna Kryvonos, who is a guest but brings an important additional layer to the songs.

Acoustic guitar, I said. It's the base or all the songs and it's quite obvious, as the composer is Agafonkin. I assume that the lyrics play an important part, but unfortunately I can't find a translation other than the track titles.

Winter elegy is my favorite. The dramaticity of the vocals, the uptime tempo, the progression of just two minor chords with the crescendo and the sudden final change when it goes back to acoustic, with seagulls and sea sounds.

There's a continuity between all the tracks. They are separated but the album flows like a long suite. If you are not disturbed by the "eastern sounding" vocals, which I personally like but may be appalling for somebody, this is an album that I can strongly recommend, and its follow-up "Son" is equally good but it will be the subject of another review