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Just a little over three years have passed since French post-metal duo Dragunov gave us Korolev, a concept album about the Soviet Union’s space program. They’re back now with another gem, Arkhipov, this time focusing on a specific and frankly terrifying incident that occurred during the Cuban Missile Crisis.
The album takes its title from Vasili Alexandrovich Arkhipov, a Soviet naval officer. In October of 1962, he was a commodore in command of a flotilla of Russian submarines near Cuba. He was personally on board a sub named B-59. The U.S. Navy located B-59 and began dropping depth charges in an attempt to force the sub to surface. The captain and political officer both agreed to launch a nuclear torpedo. However, Commodore Arkhipov also had to agree to the launch, and he refused. If they had launched, it's entirely possible we wouldn’t be here to discuss metal or much of anything at all, except perhaps how to avoid irradiated super-mutants that would undoubtedly be hunting humanity’s few survivors.
It’s an incredible story that I personally hadn’t heard before, and once again, Dragunov captures the intensity of the situation with just guitars and drums. The band is still instrumental, so except for a few scratchy sound samples, the story is told without a sung, growled, or spoken word. The slow build of “B-59”, featuring a simple, eerie guitar line that eventually builds to heavier riffs with discordant notes punctuating on top, is as good a musical recreation of what that argument aboard the sub must have been like. Similarly, “Keldysh” includes quiet pings that will be familiar to anyone who’s watched a TV show or movie with a submarine using sonar. The sonar is joined by alarms, what sounds like Morse code, and a muscular riff with lockstep percussion.
Even if you don’t care much about Soviet history, Dragunov should appeal to anyone who likes powerful, memorable riffs. They’re not noodly or overly technical, but they’re always head-bangingly good, whether they’re taking a slow Sabbath-esque approach or ripping along like a freight train. I’ve said it in previous reviews, but the fact that just two people are making this incredible noise is beyond impressive. Instrumental metal is often hit-or-miss because we’re so used to having the vocal component. A less competent band would write songs that probably should have vocals but just don’t, but Dragunov is back to show us, once again, that there’s a right way to write compelling, heavy instrumental music. And the right way is their way.
