The black metal scene has often, and justifiably, been accused of being overly conservative and restrictive. Attempts to make progress within the style or to fuse it with other kinds of music have been met with resistance. Worse still, the stain of far-right politics that has marred certain bands and fans has never been truly rinsed out.
Dawn Ray’d, however, are different. Undoubtedly a black metal band, they nevertheless espouse a progressive approach, both musically and ideologically. They use a violin as a main instrument, mix elements of folk music and punk with raw black metal, and take an overtly anti-fascist and anarchist stance.
To Know The Light (Prosthetic Records) is Dawn Ray’d’s third full-length, and the press release boldly claims that it is “a reinvigorated version of themselves, and presenting a reimagining of exactly what black metal is and can be in the future.”
Indeed, while this album retains the core sonic and lyrical themes that Dawn Ray’d have become known for — a rough and raw black metal sound enriched with folk elements, and defiantly leftist lyrics — the band have brought in a wider variety of musical influences to create a record that expands their breadth.
Frantic trem-picked guitar parts, breakneck blast beats, and anguished growls make up a large proportion of the record. These sections are infused with an agitated urgency that is in keeping with the chaotic feel of classic black metal, but the riffs also carry the fingerprints of traditional folk music, especially when Simon Barr switches from vocals to violin.
The record is also littered with sections that arguably have little to do with black metal at all. Acoustic guitars, keyboard instruments and rich clean harmony vocals make regular appearances. The addition of these sections makes for a pleasing dynamic contour across the album. They are also integrated such that they provide a complementary counterpoint to the metallic aggression that enhances, rather than detracts from, the intensity of the songs.
In fact, there are three songs that are not “heavy” at all. ‘Requital’ consists entirely of folky harmony singing that recalls Chumbawamba, ‘Cruel Optimisms’ is based around acoustic guitar and violin layers alongside spoken word vocals, and ‘Freedom in Retrograde’ is a dark acoustic folk rock track in the vein of New Model Army.
Tracks such as ‘Ancient Light’, ‘Inferno’, ‘Wild Fire’ and ‘Go As Free Companions’ are largely dominated by raw and ferocious black metal. The production here combines old-school black metal lo-fi aesthetics with a touch of modern punchiness. The rousing lyrics, though barked with incandescent rage, are delivered and treated so as to be prominent and clear enough for the messages to (just about) be understood.
To Know The Light explodes with rage and venom, but it also engenders uplifting and hopeful feelings of solidarity and righteous defiance. It is probably Dawn Ray’d’s most diverse and, simultaneously, most cohesive release thus far. Of course, not everyone (even those of left-leaning persuasions) will agree with every word of the lyrics. But, regardless, Dawn Ray’d must be applauded for their ability to fuse left-wing politics and the primal spirit of folk music with what is unarguably a black metal sound.
For existing fans of Dawn Ray’d, and anyone who love the rawness of black metal but is also open to progression and fusion, To Know The Light will rightly be seen as a potent and powerful reawakening.
Buy the album here:
https://dawnrayd.bandcamp.com/album/to-know-the-light
8 / 10
DUNCAN EVANS