After 3 demos, the enlarging and the stabilization of the line-up, here comes the debut for the Moscow band so much recommended to me by our friends in common from Twilight Is Mine and Abstract Spirit, who were responsible for the recording, too. Although there're musical and singing similarities with Abstract Spirit, Who Dies In Siberian Slush add some growls to their vocals, ending up between Doom and Death. Moreover, the keyboards have a major role in Abstract Spirit due to the funeral aspect they mean to express, while the lyrics give me mixed feelings: the ones from "Leave Me" try and show the protagonist's indecision with partial success, whereas the others are great, showing the necessary dose of melancholy, desperation, solitude, oppression and bitterness, and there's even an instrumental track inspired by Gumyliov, a dissident who never returned from Siberia after Joseph 'insert prophanity of choice' Stalin's epurations.

The beginning and the end of "Leave Me" feature magic and morbid atmospheres, but believe it or not, it's not Stellarghost's guest keys service as we would expect; it's a Doom/Death song with additional whispered and menacious vocals, decidedly a good opener; as to "The Woman We Are Looking for" it doesn't have to be hidden it owes much to My Dying Bride but that's not a disgrace, because it's absolutely enjoyable.
Slow down the early Paradise Lost and you'll get an idea of the initial structure of "Möbius Ring"; on the other side, the remaining parts are quite original, especially the second guitar in the background giving soft brush strokes; it's a pity the axe solo is boring, and the blasting kick drums even worse, sounding badly and terribly weak. I know it's not a longpart of the track, but it's my job to be ruthless.
"Interlude" is a fine intermezzo made only with keyboards lines, whereas "Testament of Gumilev " is Tomb metal sung in Russian, whose keyboards remind gigantic falling drops on a marble floor.
"An Old Road Through The Snow" is a short instrumental composition based on an acoustic guitar and wind blows, in actual fact another interlude preceding the long closing title track; crushing, including occasional martial odd drum patterns, it turns out to be perfect because the fast kick drums are powerful at last here, and also owing to the unusual guitar break adding variations to the typical recipe.

This debut album features 4 guest musicians and boasts a pretty original artwork, as well as the monicker, both name- and style-wise; the music offers little new, but if you're into this style you can easily enjoy "Bitterness of the Years That Are Lost"as much as I did.