Band: The Living Fields
Title: Running Out Of Daylight
Label: Candlelight Records
Distribution: Bertus / Plastic Head Distribution
Release date: July 18th 2011
Review: CD

In between the surprising self-called debut and this new full length, the (theoretical) line-up of (internationally located studio-project – they never perform live) The Living Fields did change importantly, including the (permanent) recruitment of a violinist.
This sophomore album, Running Out Of Daylight, was produced by Jay Walsh (Farview Recording) and is much heavier and more dense in sound.

Musically, Running Out Of Daylight is comparable to both the debut full length and 2004’s mini-album The Miseries Never Cease, but the band is subject to a continuous progression, which did not end when writing and recording this new material. The eight songs last for more than an hour and are as eccentric and varying as before, even more diversified and (in)comprehensive. Most of them (five, as a matter of fact) fluctuate in between six and ten minutes, yet Intermissione, for example, clocks one minute only, and in return the title track (which ends the album) has duration of almost seventeen minutes.

The band calls their style ‘Epic Progressive Doom Metal’, and analysis demonstrates modest correctness. The Living Fields do perform some kind of Metal that can best be labelled as ‘Doom’, yet this band wrote magisterial creations with so many levels. Each epos takes elements from different types of Doom Metal, from Traditional and Epic Doom to both Seventies-inspired (Psychedelic) Doom Rock and modern avant-garde stuff. And very important: Doom-Death in many aspects. Besides, the band also makes use of elements from Heavy, Death, Gothic, Pagan and Black Metal, Folk and ProgRock.
When it comes to the term ‘progressive’, it goes further than just the performance of hyper-technical tricks. The Living Fields do not focus on absurd super-play, but their aim is to construct a multi-layered sound that overwhelms the listener. And multi-layered is the most correct definition for all details, referring to both instruments and vocals, changes in tempo and style, and the different approaches (epic, atmospheric, operatic, aggressive, melancholic, mysterious, ritual, traditional, thrashing, orchestral etc.).
The violins are more present than before. They often have a leading role, then again they support the back grounds subtly; sometimes floating, sometimes classical. Also the vocal differentiation has reached new levels. All kinds of vocal contributions are here: clean and harmonious voices, varying screams and grunts, shrieks and croons, yells and mourns, falsettos and chants. Furthermore The Living Fields use piano, cello, acoustic guitars and tympani as well. And that’s one of the many, many strengths, this equilibrium between the non-Metal instruments and the guitars. Some parts are specifically guitar riff-driven, others are acoustic, or like a bombastic wall, built upon masses of instrumental injections.

Running Out Of Daylight is one of the most complex albums in years and it certainly needs several listens for sure. But each time it is a unique auditory journey that leads you further and further in dreamlike spheres. Worth to give this recording (at least) one try!

89/100

Ivan Tibos.