Adaga (Portugal) arrived to the scene in the bleak and sombre autumn months of 2022. That same sense of autumnal hopelessness is reflective of Adaga’s first EP ‘Das Ruinas Do Ser’.
For better or worse, the whole Depressive Suicidal Black Metal (DSBM) hype has lost most of its presence in recent years with less and less new bands making their entry into the genre. The infamous sub-genre of Black Metal is not entirely dead though, as proven by Adaga. ‘Das Ruinas Do Ser’ has all the hallmarks that identifies DSBM, i.e. a production fitting for a bedroom Black Metal project, sorrow filled vocals and clean electric guitars passages.
Each of the six tracks is driven by clean arpeggio’s, suitably enhancing the dreadful atmosphere. Only occasionally, distorted guitars are utilized to amplify certain sections. Whilst clean guitars have a prominent place in most DSBM songs, it is rare to find a release that puts the clean guitars at the heart and centre of every song. Perhaps this is what Adaga had envisioned for themselves as it does take an original spin on the otherwise very narrowminded sound of the sub-genre.
So, Adaga has an original twist to their music, but how does it benefit them? Unfortunately, the outcome might be lacking. The compositions are short enough to be able to sit through the entire EP. However, the songs themselves are not structurally noteworthy. They lack a sense of direction or climax and are thus very monotone. Sections might be accentuated by distorted rhythm guitar or by bashing the drums harder and faster, but these lack the power to truly elevate the songs. The vocals are fitting the atmosphere perfectly, utilizing a moaning, raspy kind of scream.
‘Das Ruinas Do Ser’ is a somewhat unique take on DSBM with its clean guitars as primary focus. With this EP Adaga has successfully made a dark soundtrack for sombre moods wrapped in a lo-fi production. A soundtrack that’s so monotonous that it might only resonate with those who’re so lost that they feel like the only thing left in life is life itself.
