Draconian
Arcane Rain Fell

THE REVIEW

Five months ago, I was on a trip to Paris with my companions. We met in front of the hotel at half-past eight and headed to the metro. I, as always, was walking with headphones in my ears, listening to "Arcane Rain Fell" by Draconian. When we got to the metro, a very tall Finnish companion of mine, who always "borrows" my digital music, took one of my headphones and put it in his ear. His face immediately lit up; "This song is beautiful, who are they?" "Draconian, they’re Swedish." "They are really good, they have a very majestic style." So, we spent the entire underground journey each with a headphone, listening to the singer’s growl and the beautiful guitar sections.

This story came to my mind recently and made me realize that when a band is good, there is no denying it—they can only be liked. You might not appreciate the genre, but when there’s "quality," you can’t remain indifferent.

Draconian is a Swedish band founded in 1994 and dedicated to Gothic Metal, a genre now saturated with too many poor-quality bands. Well, this Scandinavian combo is definitely a breath of fresh air in the genre; their offering (even if it’s not innovative) is a beautiful example of true Gothic Metal. If you were to play the classic game: guess which bands make up the group’s sound, I’d say Draconian is a splendid blend of Candlemass, Theatre Of Tragedy, and My Dying Bride.

"Arcane Rain Fell," released in 2005, is a stunning album, the best in the band’s discography. The album opens with "A Scenery of Loss," a beautiful track over nine minutes long that introduces the listener to the beautiful atmospheres of the CD. Sadness, desolation, melancholy, and unease are mixed with a feeling of solemn majesty; here, you won’t find the usual ethereal melodies, Draconian’s gothic stems directly from the masters of Doom Metal. The Swedes are excellent at raising, with their majestic sound, a sonic cathedral of great level; thanks to Anders Jacobsson and his well-calibrated growl, which always perfectly harmonizes with Lisa Johansson’s angelic voice. The song proceeds with this wonderful duet, then fades with a melancholic instrumental part played by keyboardist Andreas Karlsson. And it is in these gloomy atmospheres, reminiscent of gray days where life reigns with its Draconian law, that the first masterpiece of the album emerges: "The Apostasy Canticle." Credit must be given to Johan Ericson (guitarist and the band’s mind, also active with his excellent side project Doom:Vs). The solid guitar carves into the listener’s heart with its beautiful melody, the singer’s growl is deep and angry, the song proceeds slowly until the central part where it accelerates and the atmosphere becomes more luciferian thanks to the use of keyboards. Then, the track calms, and the guitars return to weave their beautiful and deadly web. After "Heaven Laid In Tears (Angel’s Lament)" and "Everlasting Scar," you reach the true masterpiece of the band, undoubtedly one of the best songs I’ve had the chance to listen to in this musical genre: "Death Come Near Me". The track is a long fifteen-minute suite, opening with a beautiful guitar arpeggio which then becomes solid and heavy. This time, it's the singer's voice that starts first, followed by Anders' wonderful growl. The two duet exceptionally, creating an atmosphere of complete desolation, the sky getting increasingly gray threatening rain, life seems to go in slow motion, moments of anguish and deep loneliness penetrate through the music. At a certain point, the melody changes, the guitar becomes softer again, and the singer’s voice becomes clear. But it's just an illusion, soon darkness will reign again, Nature will not stop enforcing its ruthless law. Shivers rise when you hear Anders and Lisa pray "Oh Death, come near me,/save me from this empty, cold world!/Oh Life, you have killed me, /so spare me from this cauldron of misery!". This is undoubtedly the most pathos-laden moment of the entire record. Then the tones slowly calm down, a magnificent keyboard piece sweetens the atmosphere, desolation comes to life from the pentagram, the two voices duet splendidly and naturally, the guitar draws its melodies for the last time; everything fades, the volume of the instruments lowers until completely fading out, leaving a terrible sensation of sadness and inner emptiness.

The album doesn’t have any notable downsides, the production is perfect, the singing of the duo is never out of place, and the melodies always manage to surprise. Moreover, the participation of the female voice has been reduced compared to their debut album "Where Lovers Mourn", giving the band much more personality.

In conclusion, it can be said that the CD is spectacular, filled with desolate and melancholic atmospheres which will certainly be the joy (or rather the misery) of the listeners. Put the songs on your mp3 player and leave the house, maybe on a cloudy day when the city streets are not very populated, and start playing the album. Walk the streets, pass in front of the buildings and churches adorning your city, then stop in the middle of the bridge, beneath which the river flows, and gaze at the horizon. The bitterness and sadness that only life can give will flow through your veins, and perhaps, your eyes will start to glisten. In those moments of solitude, you will be glad too, to have Draconian as your only companions.

rating 87/100