In 2022, Swedish post metal act Dimwind released what could only be described as a very ambitious recording. The fifteen minute ‘Window Passed’ was presented as half of a split release with black metallers Breaths, and basically acted like an effective CV. During its quarter of an hour, the track moved through heavy riffs in a post rock vein, teased with drone, and even exploded into passages of instrumental black metal. It should have been really challenging, but something within Dimwind’s soundtrack like state ensured that even their heaviest outbursts seemed very natural.
A year on, 2023’s ‘The Futility of Breathing’ takes those ideas and expands them further, creating an epic piece of post rock/metal that sounds so much bigger and bolder than most. The musical scope approached by the duo is so vast that even its instrumental bias feels song oriented, and with the melodies inspired by periods of extreme grief, the musical landscape actually feels like a concept album, despite the absence of a vocal narrative.
In keeping with Dimwind’s best “dark yet melodic” side, ‘First Light Never Stays’ opens with an ambient drone before moving into a solid, mid tempo riff where soundtrack-like sounds blend with a post rock chug. There’s a coldness that’s brilliant, but never affronting. The huge melodies that cut through via the guitar riffs are constantly inviting – sort of like ‘The Euphoric’ era Fierce and The Dead colliding with a goth band, whilst wavering synths bleed in and out of the fattest of grooves. By the time some serious momentum has been gained, the drums build up a busier rhythm, before everything falls away to reveal a slower and more melodic post rock/metal sound. The volume of the guitar will always ensure a leaning towards the metallic, but there’s also something buried within this track’s melodies that could align with the brilliant cold, Scandinavian indie sounds of Spielbergs. It’s fair to say, though, that if you find something to enjoy during this opening statement, the rest of the album should fall into place rather nicely.
During ‘Days Subside Ablaze’, Jonas Eriksson utilises a superb rattling drum part during some of the quieter moments, but isn’t shy in exploding into his usual crashy style during the “chorus” sections and more intense moments. Such a performance could dominate, but the recording allows almost equal space for an intense ringing guitar, exploring various post- and prog rock textures, and the way the tones really cry out despite carrying a huge amount of distortion is typical of Dimwind’s best work to date. Although a lot of listeners will be drawn to the heaviest moments here, the arrangement’s most pleasing touches present themselves during the track’s second half when a warm bass and cleaner guitar indulge in a slower riff that appears to take on a slight, mellow jazz influence. If this doesn’t seem so obvious at first, try imagining the crying guitar transposed to a wheezing, mournful saxophone… This would definitely sound great rearranged by a jazz rock outfit. Any exploration of quieter sounds is relatively short-lived, though, since the number’s coda changes the mood for a much harsher post-metal crunch, first latching onto a crashing snare drum and jagged, repetitious riff, before eventually finding its feet with more of a groove metal undertone. The way this number moves through at least four different moods in approximately six minutes makes it feel like a condensed version of ‘Window Passed’, creating an album highlight.
For the hardened post metal/prog fan looking for something broader, ‘Once A Lushful Green’ fills nine minutes with a very oppressive sound where deep drums sound as if they’ve been pulled from a doom metal session, and wonderfully cold guitar lines show an influence from Alcest. It takes a little while to warm up, but a couple of minutes in, the interplay between some very loud drums and dirgy guitars is absolutely terrific, and the eventual sheets of sound blending intense post rock and melodic black metal supply some of Dimwind’s greatest riffs. Slowing down a little midway allows enough space for yet another layer of guitar to cut through, and with the band clearly challenging the listener in terms of heaviness, you might wonder where things are headed. Understanding that anything heavier might undo some of the previous atmospheres, the arrangement completely switches gears to make room for a funereal riff an accompanying spoken voice. By the time a chiming guitar sound re-emerges, the mood is very unsettling – almost bleak for the sake of it – but if you can make it through that, there’s a great closing groove, sprinkled with clean guitar sounds before ‘Withering Unseen’ teases with a world of prog metal riffing which shows Dimwind at their most accessible. It isn’t always as interesting as the more soundtrack infused material, but in playing like a much heavier version of Toundra it gives a much clearer indication of how naturally the musicians work together in a riff based set up. As with a lot of Dimwind tracks, of course, that isn’t all that’s offered; by the time these riffs run their course, the track finds time for a different mood, and in this instance, there’s a more of a groove laden jam that unfolds. The prog rock meets post metal sound takes in a huge swathe of Tool’s influences – particularly in the drum part – and when the inevitable climax is reached, the combo of clattering rhythms and swirling metallic guitars gives this whole suite of tracks its obvious peak.
That’s not to say the remaining pairing of ‘The Growing Shadow Gains’ and ‘A Feeble Frame Remains’ is in any way weaker, or even forgettable. ‘Growing Shadow’ does a brilliant job of fusing the doomier end of post metal with a very strong lead guitar melody, before exploring moments of heavily rhythmic sound that feel as if Neil Peart has stepped in to jam with Electric Wizard, whilst a little echoing piano tries defiantly to burst through a wall of sound. In terms of capturing Dimwind’s love of the densely layered, it’s superb, but listeners should expect to work a little harder before the true magic is revealed. Working a more standard post metal riff, ‘A Feeble Frame Remains’ feels like a tacked on coda by comparison, but even here, there are enough musical flourishes within the wavering guitars to show how almost every element of this recording has been meticulously planned. Even when presenting a few more obvious riffs, there’s plenty within the Dimwind sound that reaches for the huge, and eventually, a wobbly bass and militaristic drum part arrive in time to ensure this final barrage of riffs and noises takes on more of its own identity. The addition of a voice-over talking about the process of grieving helps to put the deeply sad tones in context, and with the band ready to bow out, there’s little doubt that the last forty five minutes have been rather special.
Far more than a dense musical backdrop, this is an epic work that takes post metal into some marvellously dark places. Its combination of heaviness, progressiveness and bleakness brings a strange beauty to the fore, often showcasing musicians who are seemingly able to expand on small musical inspirations and create vast expanses of noise without pushing too many listeners away. In terms of semi-experimental metal fare, ‘The Futility of Breathing’ is almost perfect. It’s not designed for easy, every day enjoyment, but given the right time, place and mood, its a record that’ll really connect with the listener. A highly recommended disc.
April 2023