DAATH – The Hinderers

Daath is a Hebrew word meaning knowledge, referring to a knowledge not regularly attained by ordinary masses. According to the Jewish mysticism, it is also the location where all ten sefirot in the Tree of Life are united as one. The background search for the meaning of the band’s moniker was truly necessary since the lyrics on The Hinderers are based on Jewish Kabbalah and is intended to be the first of the 13 parts that will eventually conclude this most ambitious mystical concept.

The complex lyrical content goes hand-in-hand with the band’s musical direction that starts from Death Metal, flirts with Progressive, and adds an Industrial touch to top things off. This strange musical blend comes with a flawless and powerful sound production carried out by the band’s guitarist Eyal Levi, the famous Andy Sneap, and James Murphy, who is also known by his work with Testament, Death, and Obituary.

Actually, it is really difficult to put a certain music label to this multi-personality album; the ton-heavy rhythm in “Subterfuge” reminds of Morbid Angel, while the straightforward tracks “From The Blind” and “Sightless” approach the Progressive side of Death Metal that was initially explored by Chuck Schuldiner (R.I.P.) and his homonymous legendary band. The keyboard experimentations in “Cosmic Forge” and “Under A Somber Sign” enhance the mystical atmosphere and add additional points towards musical diversity. “Death On The Dance Floor” and “Who Will Take The Blame?” will surprise you with the addition of electronic beats and some sound effects that fit perfectly with the aggressive Industrial sound that brings to mind Ministry or the solo work of the multi-talented artist Rob Zombie. The guitars are awesome, presenting fast shredding riffs and extremely heavy hooks that maintain, along with Farber’s deep growls, the aggressive Death Metal profile of Daath. The drum work really shines on the fast-paced “War Born” or the atmospheric “Blessed Through Misery” with the double pedaling and the fast changes and breaks. “The Hinderers” is the blackest, and the sickest track of all; the classic guitar arpeggios, the electronic effects, and the bizarre guitar riff patterns reveal the band’s high composition potentials in creating a more personal sound.

It is obvious that this in not an “easy going” album and definitely needs additional spins to grow. The strange musical approach and some original ideas deserve every Metalhead’s attention. You won’t be disappointed as soon as you sink your teeth into The Hinderers. This album will definitely be in several lists for the best album of 2007!