Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city – into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.