Dakrya - Crime Scene

(CD 2011, 40:38, Sensory SR3055)

The tracks:
  1- The Charlatans(4:32)
  2- Blind Man's Bluff(5:05)
  3- Scaremongering(4:36)
  4- The Urban Tribe(4:00)
  5- Camouflage(4:34)
  6- Phantasmagoria(4:51)
  7- Inertia(4:24)
  8- Dramatis Personae(6:07)
  9- A Dreadful Slide Scene(2:28)

Dakrya Website        Laser's Edge

When seven Greek charlatans get together, the musical visions that spring from their minds can only be described as a true freak show. This is a quote from Dakrya's record company and that says it all; as this second album from these Greek musicians is a real love or hate album. Let me explain why I belong in the hate group. After listening to Crime Scene for the first time I immediately thought: “what the hell is this?” A real musical freak show with horrible- I am not a sexist by the way - female vocals by Christina Kalantzi and Thomais Chatzigianni, turning this rather weird music into a gimmick and if there is one thing I really dislike, it is a musical gimmick. The vocals truly dominate this album and I am afraid that none of the singers impressed me. Dakrya tries to be very original and different, but this works against them as their music is only boring and weird. The band describe their music as “avant-garde theatrical metal”, but what for crying out loud is that? I would call Dakrya a truly weird combination of musical elements of bands like Theater Of Tragedy, The Gathering, Nightwish, Epica, Diablo Swing Orchestra and Dog Fashion Disco. I am sorry to say that I got no enjoyment from listening to this album whatsoever. Just listen to the really over-dramatic songs like: Inertia or Phantasmagoria and maybe you will agree with me, or not. The album ends with a tiresome instrumental song called A Dreadful Slide Scene, making an end to my “torture” of listening to this album.

However, I would really recommend everybody to listen to this album and check it out for yourself and maybe YOU will get it and really love this album and think what a lousy reviewer Martien Koolen in fact is...

* Martien Koolen (edited by Robert James Pashman)

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