I have always had a ‘boontje’, like they say in Flanders, for stuff on Cold Raw’s roster. It’s just the intention of the thought behind each release that makes me (un)happy, non-depending the musical qualities. But now they do really surprise me with the release of Dank Dreiser !!! by French horde Uluun. Actually, this material was self-released in Autumn 2014, but Cold Raw Records wouldn’t be Cold Raw Records if they didn’t see the opportunity to do something additional with this material. Once again they did the right thing, i.e. offering this band the chance to have their stuff put on CD with a proper promotion / distribution. I am glad to be part of that promotional part by means of this review.
Why? Well, what Uluun bring is something amazing. No, if you hope for something renewing, something original, something unheard before, then please f*ck o… I mean, please, skip this sh*t. …because what Uluun bring has nothing to do with a new way of whatever… But it’s highly qualitative stuff for sure.
So, actually, Danke Dreiser !!! is a five-tracker that lasts for fifty six minutes (!). Five lengthy tracks within the most epic old schooled tradition, combining heroism with melody, rhythmic superiority with forceful energy, that’s the core of Uluun’s raison d’être. There is a nice atmosphere and a great sound, which I will come back to right now. Both of them, sound and atmosphere, are closely related, evidently. The production causes a sonic excellence because of a specific rawness, unpolished and unclean, and that’s what this kind of Aural Art needs, of course. At the same time, and that might be the problem for several other combos, that production is decent enough, lacking of that cheap, quasi-arrogant under-produced sound, as if the whole album was recorded in some empty container of soggy cellar. No, Uluun did a good thing with entering the Studio du Père Dugras. And the direct relationship with the atmosphere has to do with the spiritual ideas behind this band’s conceptual approach. I did mention a certain epic feeling, which comes to the foreground all the time (cf. the Avitas / Desaster-alike opening riff of L’Etincelle, for example), and that does colour the whole experience whole the time. But it goes further than that, for breathing an air that is oh so Nordic in essence – and then I am referring to the Norwegian scene especially, with hints of the Swedish, Finnish, Polish, Belgian, German and, for my part, Rhodesian one too. Also the use of acoustic intermezzi lacks of originality, yet once again: seen the perfect use of these excerpts, it isn’t but appreciable. And with the last composition, Sepulture, based on the great Baudelaire, everything gets synthesised yet with even more superiority, including more than just coincidental hints of Funeral Doom and Post-Black grotesquery in addition to the glorious and melodious Black majesty that does characterise the other ballads. This very lengthy piece (nineteen minutes) isn’t but a highlight within the worldwide scene, turning many ‘big names’ into infantile pulp. What a grandiose synthesis of Sonic Darkness, for going so far, so deep, so high!
Despite the lengthy duration of each piece, there is no room for ennui or boredom. On the contrary; the well-written (and performed) structures, the cool variation in speed, and above all, the great skills of the writing process and execution, make that each single piece is an interesting piece an sich. Once again, there is no originality to be found here, just professionalism and persuasion. And craftsmanship. And excellence. And conviction. And glory and pride. And honesty, purity and power and, well, about everything a purist like undersigned is looking for.