Drudkh — A Furrow Cut Short
When the still ongoing Ukraine crisis broke out in late 2013 we were given an interesting if predictable viewpoint from the Ukraine’s best known band Nokturnal Mortum as they derided pro-Russian separatists and Russia’s interference in their homeland. Drudkh remained silent. But this wasn’t surprising given that Drudkh has never spoken publicly, preferring instead to let their music do the talking for them. Like you would guess, Drudkh is not happy with the state of their homeland. Where these nationalists differ from their brothers in Nokturnal Mortum is how they express their displeasure: through their lyrics.
Drudkh has used the poems of Ukrainian poets since at least the release of The Swan Road in 2005, but stopped with the release of 2012’s Eternal Turn of the Wheel. A Furrow Cut Short sees the return of these lyrics, taking inspiration from a number of Ukrainian nationalist poets such as Vasyl Stus, who was arrested for publishing anti-Soviet literature and died in a gulag; and Oleg Olzhych, a member of a Ukrainian nationalist poet who was murdered in a concentration camp. The theme of the Ukraine triumphing over foreign invaders and its relevance to the current situation is not lost here.
The music has similarly taken a turn from the past two albums. Gone are the post-black metal and shoegaze elements and the long, atmospheric passages of folk-flavored tremolo riffs. In their place are lots of marching, mid-paced sections where the band locks down into a militaristic groove. The repetition is also largely absent, and in its place is lots of fluid and dynamic changes in tempo and riff structure. The repetitive, folk tinged tremolo riffs are part of what made Drudkh Drudkh, so it’s sad to see them go. But they bring to mind forests and mountains, not blood-soaked fields and fierce pride. This change is fitting with the emotions of the band and their current situation. The emotions present on A Furrow Cut Short are pride, hate, and sorrow in equal proportions. Beauty is not something that enters the equation. There are still lengthy instrumental sections, but these are full of variation driven by the guitars, and there’s a sense of urgency present that is absent from the band’s other work.
It goes without saying that the members’ performances are perfect. The playing is as tight as can be expected from a band a decade into its career, but with none of the sluggish timidness that often accompanies that. The mix is done well, with lots of ferocity present on every note, with Roman’s vicious snarl reigning over everything. There’s a lot of low-end in the mix, with constantly thrumming bass driving everything forwards. If there’s one thing to fault on the technical side of things, it’s the clicky sounding bass drum. Thankfully the rest of the kit sounds good, but on the extended sections of double bass it’s impossible to ignore the constant clicking.
It’s refreshing to see a band able to come back from a weak point in their discography, especially in a band as well respected and revered as Drudkh. While A Furrow Cut Short doesn’t measure up to the band’s greatest works, it’s head and shoulders above the past two. Uncommonly mean and purposeful, this album is a clear reaction to the present situation in the Ukraine. It has its weak points like almost any album, but the strengths far outweigh the weaknesses. A Furrow Cut Short is a compelling statement of relevance from a veteran band after a period of decline. Only time will tell if this upward swing in quality will continue, but until then, we’re left with a solid album from one of the troubled country’s greatest bands.