In quickly identifying the morphology of Cologne, Germany-based psychedelic/stoner doom metal trio DAEVAR a certain level of familiarity might initially smudge across the shape rendered yet the ultimate taxonomy of their debut full-length album doesn’t null its effective expression. ‘Amber Eyes‘ is a work of slow-burning dread, desert-dropped and eye crusting in its hi-fi stoner buzz as its easily read hooks offer a blurring effect wherein the pleasure of listening and the polish available makes it easy to overlook the obviate niche-aimed inspiration for sound and cadence within. Their spell of dread borne hypnosis may not be all that original all things considered but that initially overwhelming prototypicality didn’t so brutally detract from the easy enjoyment found when steeped in the melodramatic immerse achieved.

The seemingly thriving existence of a band like Daever, who’d appeared out of thin air around 2022, is a testament to several layers of fortitude which came before them, their most superficial likeness being taken from the methods of Windhand in the 2010’s which itself was a distillation of 90’s-cum-2000’s stoner/sludge gloom via Electric Wizard and Acid King. The caveat here is that nobody’d blame you for taking a quick spin of their debut EP (‘Delirious Rites‘, 2023) and immediately suggesting, “Ah yeah, solid Windhand clone” as we find the diction of Dorthia Cottrell, itself a derivation of specific aforementioned generational tip, emulated in the greater zeitgeist as an easily recognized pathway towards interest from the stoner metal and psychedelic doom collective. That is to suggest that this band instantly reads as part of a specific micro-ecosystem, delivering variation on the niche which is admittedly unoriginal but still effective. My point here is that yes, an album like ‘Amber Eyes‘ -could- be reduced to a simple likeness for the sake of dismissive categorization of sound and method, fair enough, but those who love that specific variant should appreciate this band’s work as differentiation through subtle genetic expression (see also: Haunted, Deathbell, etc.)

Daevar‘s debut had its own unique bits, such as the harsher extremes touched upon via “Leviathan” and the more jammed early Sleep hits found on closer “Yellow Queen” to point out the most obvious derivations but the major note to take on their initial sound was easy-slung fuzz grooves, big production sound, and dreary deadpan vocals with some long-wave effects lending a watery curve to their drift. In just over a year’s time ‘Amber Eyes‘ takes that already typified minimalistic approach and dilutes down to steadier stoner doom grooves, hypnotic vocal cadence, and an emphasis on repetition within simplified song structures. This amounts to ~6-7 minute slow-motioned atmospheric heavy rock pieces which’ve unfortunately been tagged as “doom grunge” by the band, perhaps for the sake of intent rather than anything resembling the spirit of Seattle’s much fabled grunge music/culture and the commercial rock resultant later on. The way that this approach should read to most folks is eh, something closer to a stoner version of those post-metal covers of mid-to-late 90’s alternative rock songs typically reserved for bad movie trailers in the mid-2010’s, translating that level of dramatism to surreal n’ sleepy psychedelic doom without yet falling into post-metal territory.

The spongey fuzz-toned clatter of freshly clipped powerlines replace the nuclear crusted haul of ‘Delirious Rites‘ for a warmer pool of despairing, ever descending doom metal riffs as the main rhythmic voice for ‘Amber Eyes‘ internalizes its own condition to a point of hypnosis. Drum presence is set aback and above ground, tuned to clip through the waves of distortion without disrupting the sleekness of the fuzz-forward existential groaning of their swayed motions but not so much that they’ve lost their impact. This exact balance (which leaves the bass guitar in sole support mode) is crucial to the consistent mood and atmosphere generated within the ~44 minute rub of the full listen. While the riffs at the center of this hi-fi feeling sound design maintain crucial atmospheric value they aren’t likely going to be such a point of focus for most listeners who’ll otherwise likely be transfixed by vocals from Pardis Latifi first and foremost.

Opener “Lilith’s Lullaby” tells us all we need to know about the space and pacing we can expect from this album up front though it only gives us alluring vocal hooks at a minimum, holding back on the use of harmonization for an easy, haze-ridden entrance. “Pay to Pray” hits the bass guitar fuzz a bit as far as I can tell but crucially begins to incorporate soaring lead guitar accompaniment behind the main verses and presses toward the first sublimely stated chorus of the full listen quickly. Though this is slick enough, the solo on “Pay to Pray” smokes, and sets a very clean standard going forward I wouldn’t say Daevar really begin to strike above-average ’til “Caliban and the Witch” hits. This is where Latifi‘s tone shines a bit more despite its heavily processed state and part of this comes from its surreal, slow-burning arrangement where the tact of earlier Messa meets up with the wall of fuzz you might find on a recent Holy Serpent record. We’re deepest in the oily pits of moderne stoner-doom metal lux at this point, something accessible in arrangement but still speaking the language of its niche. This changes in an instant as the title track (“Amber Eyes“) gives us a single, perhaps the one song on the running order that lines up with the “grunge”-era alternative rock inspired doom they’ve suggested as their main directive. That’d be the general peak of the full listen, having built up to that point of an undeniably catchy song and finishing that second third of the experience with a despondent, captivating earworm.

With a solid ~17 minutes of song left ‘Amber Eyes‘ hits with its peak interest at just the right point of immersion, peaking with a rousing hook or two, and finishes the thought with an equal bookend to that of the first couple of songs otherwise, leaving the title track as the high point of action. As the greater conversation continues beyond that point of glowing movement I couldn’t help but weigh the appreciation of an easy induction into Daevar‘s world per typified style against the plainness of their songcraft beyond its purest vocal hooks. Some above-average lead guitar interest helps the mind take one step beyond the lumbering riffage available up front but the depth available here is limited to repeatable songs and a feeling, a melodramatic touch which carries through the full listen. A pleasure listening experience overall but with some notable attention to detail throughout, I’d found ‘Amber Eyes‘ likely to convince outsiders-looking-in when it comes to finding some lush and easily approached vision of stoner/psychedelic doom. A moderately high recommendation.

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