"DahaBraha" released a new album. He's wonderful, but isn't he with him?

Our beloved “DahaBraha” released a new album - Alambari. We have been waiting for him for four years. He is tough. And what he lacks.
“DahaBraha” is one of the groups about which it is increasingly difficult to write something with each new work. They have already become a national treasure, a phenomenon that Ukraine exports to the world.
And this year, the ethno-chaos quartet was recognized at the state level - “Dakha Braha” received the Taras Shevchenko National Prize, thereby finally turning into a “sacred cow” of Ukrainian music.
It took almost 20 years for this group. But the triumph in his native country came only last year, when Dakha Braha gathered the ten thousandth Palace of Sports and organized a bacchanal. What is it like a popular recognition?
And ethno-chaos-quartet released a new album Alambari. Without further ado, the album is almost perfect. Viscous, musically and emotionally diverse, the album outplayes many different cultural strata.
But there is one small “but.” On the new album, they are almost impossible to distinguish from Dakh Daughters.
Three projects that emerged from under the wing of Vlad Troitsky - “Dakha Braha”, Dakh Daughters, “TseSho” with the similarity of musical instruments still conceptually different from each other.
Dakh Daughters straddled cabaret aesthetics, mixed theater, poets Joseph Brodsky and Charles Bukowski, Shakespeare and Ukrainian folk songs in one explosive postmodern cocktail. Dakh Daughters - about nothing and everything together at the same time.
Puppet theater-group "TseSho" on the contrary - armed with postyronium and began to hit the nerves of modernity. It’s enough to recall the funny Hate song that the group wanted to present at Eurovision from Ukraine.
“DakhaBraha” with the whole troika of Troitsky was most tuned to music, and not to the concept, even if we take into account their “sounding” of the performances of the Dakh theater.
But on the new album, it seems that “DahaBraha” merges into a single whole with the early Dakh Daughters. It feels like teams are changing roles. The second album of Dakh Daughters - If sounded much "dahabrahee", slowly and pulling. And Alambari's new DahiBrahi album turned out to be a lot more dahdotersim than expected.
Here is a mixture of languages ​​- Ukrainian, English and German. Here is the seventy-seventh sonnet of Shakespeare ("Sonnet"), and the poem of the German romantic Heinrich Heine "Lorelei" (Im Tanzen Lieben), and the blues in the spirit of the great bluesman Willy Dixon ("Dostochka"). You can be carried away by the depth of references, worldview and skill to build bridges between different musical cultures of the world in a unique acoustic wrapper.
However, DahaBraha began to play with recognizable and instantly readable musical archetypes. Here is a classic rock and roll sequence of notes (“Wine I”), and the same classical tango (“Hima”).
This forms the basis of ethno-chaos - a genre by which the group itself christened its own music. On the one hand, it can be said that Dakha Braha went down the already beaten track. And their colorful bow-piano-drum instrumentation does not add anything new, it does not surprise, but simply exists for granted. “Look, we can do that.”
However, there is another side. When a group absorbs the music and poetry of other cultures, even literally, it is not a creative stupor, but a search. Search is a desire to move in different directions, which was confirmed by the previous album of the group - “The Way”. It was all woven from world music. But other accents were placed on the Way, external influences were skillfully hidden. There was a unique “dahabrahivsky” voice.

                                                     ALAMBARI REPLACE is a completely synthetic album, in which LITTLE “DahiBrahi” and many friends of the MUSICAL archetypes have already become boring

Moreover, not only world, but also local Ukrainian - above was mentioned about the musical conglomerate named after Vlad Troitsky. For an experienced Ukrainian listener, this may seem like already recycled material, walking in a circle.
Nevertheless, one can confidently say about the group that he continues to grope himself in the world around him - which means he does not stop in the comfort zone.
And it’s all the more interesting to see where this endless search for cultural synthesis leads Dahu Brahu. What will the group turn into as a result - a collection of variations of world music? Or something special, more authentic than now?
Something tells us that “DakhaBraha”, despite its vast experience and period of existence, re-learns to walk and finds the world around it. And this means that both the group and us are waiting for a lot of interesting discoveries.