The operation carried out each time by Douglas Pearce is sublime. Highly melodic songwriting trying to conceal the essence of the melody until the end itself. In a way embarks on a path to reverse many of the musical experience: trying to distract attention from the body of their songs accentuating the monotonicity of the song, with the aim, in this way, only after reaching the very sensitivity of the listener. It 's almost as desired by their partners a participatory effort, a conscious involvement, sometimes so violent as to turn the stomach. His singing (apparently) flat, the arrangements limited to one, at most two instruments, the obsessive repetition of the reasons may seem, put together ingredients dangerous to handle. And instead Douglas P. - This old fool who likes to give itself an image as ambiguous because it is inconsistent with the artistic depth of his compositions - check them perfectly managing to get the best possible result.
"Peaceful Snow" is nothing more than the revisiting of some of the piano most famous songs of Death In June, realized thanks to the congenial accompaniment of the Polish pianist Miro Snejdr. Of his own, this collection adds nothing to the whole work of the group, so you need to get rid of any loss suffered by cueing to be able to evaluate wisely. Snejdr actually manages to do what many other pianists devoted to rock art or even fail to do. It translates the characteristics that are too specific classical instrument into something much closer to the electronics. To understand, listen for example, "nausea": the stairs entangled in flying vortices, rise and fall with almost digital precision conveying a feeling dizzy dancefloor. In others, the plan serves as a counterpoint to the judgments of P. Douglas, managing to establish a concise report with the song that the guitar, so often used until now, could not do so effectively.
In essence, the final feeling is to be confronted with a mournful version of Leonard Cohen (similarity often cited when talking about the DIJ), plus a careful cutting-edge musical vision. Behind this, which allows more sensitive to the listeners to appreciate a taste for the substance of Central European music and to the disgust fronzoli e immediatezza: mali, quest'ultimi, assoluti dell'arte contemporanea e votata al mercato.
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