Romanian folklore is an establishing factor to Dorededuh’s philosophy, and it transcends over the words (all sung in their native tongue) and every note laid out. Traditional woodwind and stringed instruments, like a mandola and flute, sway along with the raw black metal passages.
The band is wise not to rely exclusively on one side or the other, though the ambient clean breaks outweigh the heavier sound pieces overall. “E-an-na” and “Dojant” are the most vibrant tracks, as booming percussion and prominent keyboard lines favor each song’s progression.
Almost 80 minutes of Dar De Duh is dedicated to eight songs, and Dorededuh makes no guarantees of a safe listen. The first song can tell someone a lot about an album as a whole, so leave it to Dorededuh to confuse a listener right off the bat with the 16-minute “Jind De Tronuri.” Other songs get close, but none of them seem quite as lofty as this gargantuan opener. From soaring vocals to nasty growls, lustful keys to tribal drum work, the song goes across multiple avenues, only bucking to a halt with its campfire chanting in the arduous outro.
Some songs drag on; a problem Negura Bunget suffered from in the past on occasion. Usually, once the lengths goes into double digits, the songs get more unpredictable from a quality standpoint. “Calea Rotilor De Foc” is an aggressive backlash after the subtle calmness of “E-an-na,” and justifies its explorative songwriting. “Zuh,” on the other hand, is almost 14 minutes of aimlessness that hits a few explosive checkpoints, but flies off the track before its end.
Dorededuh picks up the pace and gets on track when the folk elements get a grand welcoming. “Pandarul” has little of what many would associate with black metal, letting the flute and keyboards lead the charge in a proggy state of grace. It’s a complete song, one that uses up just the appropriate amount of time to not regret its place. The same could be said to “Flacararii,” which follows up “Jind De Tronuri” with a well-mannered nature that ends with a heavenly-sounding synth passage.
Unapologetic in its experimentation, and unwilling to buckle to conventional styles, Dordeduh has its moments on Dar De Duh. Some trimming should have been used on a few tracks, especially the hard-to-crack opener. Comparisons to bands like Enslaved is warranted, though not a clear-cut description of Dorededuh. Hupogrammos and Sol Faur prove to be fine on their own, away from the Negura Bunget name, and fans who wondered what would become of the former members should be left pleased by Dar De Duh.
(released November 13, 2012 on Prophecy Productions)