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https://www.europesays.com/it/389459/ Saxon: Paul Quinn confermate cinque date in Italia del tour europeo An Evening With The King #AnEveningWithTheKing #CentralPub #Entertainment #HarrisonYoung #Intrattenimento #IT #Italia #Italy #KoenHerfst #Music #Musica #NWOBHM #PaulQuinn #Peocio #Pubewinebar #RockLegendsTheRockStory #Saxon #StazioneBirra #StillHot #TeatroCinemaRossini #TheCards

Aquilla – Sentinels of New Dawn Review

By Baguette of Bodom

The Polish metal scene is much better known around these parts for its bludgeoning death metal than for classic metal worship, and Aquilla is looking to change that. Formed in Warsaw in 2015, their debut Mankind’s Odyssey was unleashed on the masses in 2022, delivering NWoBHM with a dose of ”80s–’90s speed/power metal influence. Sophomore album Sentinels of New Dawn promises a similar but more epic brand of sci-fi thunder. With a couple EPs and a full-length already under their belt, how does Aquilla navigate this set of space war stories?

Aquilla’s authentic sound immediately makes it clear they’re not messing around. Since the last time they heeded the call, they’ve been through some lineup shifts, vocalist Captain Paradox and rhythm guitarist Jaspar de Phaser both joining in 2023. The resulting shift in sound is both obvious and a major positive. Captain Paradox is the star of the show, his vocals thoroughly combining the best of the ’80s and wailing wild and free like Kai Hansen (Helloween debut, Gamma Ray) or Michael Knoblich (Scanner debut). But the speed and power metal elements in Sentinels of New Dawn don’t stop at the vocals, they are firmly present in the dueling guitar work of Jaspar de Phaser and Kris Invader as well (“Creed of Fire,” “Technocrats’ Tyranny”). The bouncy and varied drum patterns, together with an ’80s Helloween-coated bass performance (“Technocrats’ Tyranny”), round out the rock-solid, energetic foundation of the album.

The greatest strength of Sentinels of New Dawn is its potent, to-the-point songwriting. Mankind’s Odyssey was at times charming, but had a fairly narrow scope and often forgot the ‘speed’ half of speed metal. Here, Aquilla dedicate much more of the album’s runtime to an all-gas, no-brakes approach, something sorely missing from many others of its kind. The record has plenty of tricks up its sleeve, with dual-harmonized NWoBHM leads (“Plunder & Steel,” “Mountains of Black Sleep”) and fun classic-sounding gang vocals (“Plunder & Steel”) increasing the anthemic factor further. But the band also shows songwriting maturity and variety by dipping into Queensrÿchean melodic segments (“Mountains of Black Sleep,” “Battalion 31”). While the combination isn’t seamless—the middle of the album unevenly packed with most of the slower bits—it suits Aquilla well and makes for an entertaining and multifaceted album. Furthermore, relying less on Iron Maiden worship and being more German speed/power metal-informed (“Creed of Fire,” “Battalion 31”) has improved their songcraft significantly. As a result, it feels like the band has now found their element and figured out their sound, combining aspects of old and new(er).

Aquilla is having fun, and it translates into a frenetic and inspired album. At just under 50 minutes—45 minutes omitting the intro and outro—Sentinels is a brisk and empowering experience. Even the 10-minute epic “The Prophet” flies by; a great combination of an Iron Maiden and Gamma Ray epic, with the second half having some of the best and most triumphant guitars of the bunch. The dramatic intro and synthy outro fit in oddly well, too, neither one overstaying its welcome. That being said, there are still some quirks to iron out. The harsh vocals at the start of “The Curse of Mercurion” aren’t too damaging, but they are a rough listen and feel unnecessary. “Bound to Be King,” though competent, lacks a hook that the other barn burners feature. Nevertheless, every song here is a good time at least, and many of them show signs of brilliance at best.

Sentinels of New Dawn shows a young band developing into form. Aquilla is here to kick ass and take names, and their mix of old and new is lively and exciting to listen to. The songwriting has made major strides in the span of three years; their speed and energy has only grown, and the Polish metal scene is all the richer and more varied for it. I hope Aquilla fleshes out their craft even further for the next one—with this lineup, they’re on the cusp of greatness.

Rating: Very Good!
DR: 6 | Format Reviewed: 320kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#2025 #35 #Aquilla #GammaRay #HeavyMetal #Helloween #HighRollerRecords #IronMaiden #NWOBHM #Oct25 #PolishMetal #PowerMetal #Queensryche #Review #Reviews #Scanner #SentinelsOfNewDawn #SpeedMetal

Aquilla – Sentinels of New Dawn Review

By Baguette of Bodom

The Polish metal scene is much better known around these parts for its bludgeoning death metal than for classic metal worship, and Aquilla is looking to change that. Formed in Warsaw in 2015, their debut Mankind’s Odyssey was unleashed on the masses in 2022, delivering NWoBHM with a dose of ”80s–’90s speed/power metal influence. Sophomore album Sentinels of New Dawn promises a similar but more epic brand of sci-fi thunder. With a couple EPs and a full-length already under their belt, how does Aquilla navigate this set of space war stories?

Aquilla’s authentic sound immediately makes it clear they’re not messing around. Since the last time they heeded the call, they’ve been through some lineup shifts, vocalist Captain Paradox and rhythm guitarist Jaspar de Phaser both joining in 2023. The resulting shift in sound is both obvious and a major positive. Captain Paradox is the star of the show, his vocals thoroughly combining the best of the ’80s and wailing wild and free like Kai Hansen (Helloween debut, Gamma Ray) or Michael Knoblich (Scanner debut). But the speed and power metal elements in Sentinels of New Dawn don’t stop at the vocals, they are firmly present in the dueling guitar work of Jaspar de Phaser and Kris Invader as well (“Creed of Fire,” “Technocrats’ Tyranny”). The bouncy and varied drum patterns, together with an ’80s Helloween-coated bass performance (“Technocrats’ Tyranny”), round out the rock-solid, energetic foundation of the album.

The greatest strength of Sentinels of New Dawn is its potent, to-the-point songwriting. Mankind’s Odyssey was at times charming, but had a fairly narrow scope and often forgot the ‘speed’ half of speed metal. Here, Aquilla dedicate much more of the album’s runtime to an all-gas, no-brakes approach, something sorely missing from many others of its kind. The record has plenty of tricks up its sleeve, with dual-harmonized NWoBHM leads (“Plunder & Steel,” “Mountains of Black Sleep”) and fun classic-sounding gang vocals (“Plunder & Steel”) increasing the anthemic factor further. But the band also shows songwriting maturity and variety by dipping into Queensrÿchean melodic segments (“Mountains of Black Sleep,” “Battalion 31”). While the combination isn’t seamless—the middle of the album unevenly packed with most of the slower bits—it suits Aquilla well and makes for an entertaining and multifaceted album. Furthermore, relying less on Iron Maiden worship and being more German speed/power metal-informed (“Creed of Fire,” “Battalion 31”) has improved their songcraft significantly. As a result, it feels like the band has now found their element and figured out their sound, combining aspects of old and new(er).

Aquilla is having fun, and it translates into a frenetic and inspired album. At just under 50 minutes—45 minutes omitting the intro and outro—Sentinels is a brisk and empowering experience. Even the 10-minute epic “The Prophet” flies by; a great combination of an Iron Maiden and Gamma Ray epic, with the second half having some of the best and most triumphant guitars of the bunch. The dramatic intro and synthy outro fit in oddly well, too, neither one overstaying its welcome. That being said, there are still some quirks to iron out. The harsh vocals at the start of “The Curse of Mercurion” aren’t too damaging, but they are a rough listen and feel unnecessary. “Bound to Be King,” though competent, lacks a hook that the other barn burners feature. Nevertheless, every song here is a good time at least, and many of them show signs of brilliance at best.

Sentinels of New Dawn shows a young band developing into form. Aquilla is here to kick ass and take names, and their mix of old and new is lively and exciting to listen to. The songwriting has made major strides in the span of three years; their speed and energy has only grown, and the Polish metal scene is all the richer and more varied for it. I hope Aquilla fleshes out their craft even further for the next one—with this lineup, they’re on the cusp of greatness.

Rating: Very Good!
DR: 6 | Format Reviewed: 320kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#2025 #35 #Aquilla #GammaRay #HeavyMetal #Helloween #HighRollerRecords #IronMaiden #NWOBHM #Oct25 #PolishMetal #PowerMetal #Queensryche #Review #Reviews #Scanner #SentinelsOfNewDawn #SpeedMetal

Aquilla – Sentinels of New Dawn Review

By Baguette of Bodom

The Polish metal scene is much better known around these parts for its bludgeoning death metal than for classic metal worship, and Aquilla is looking to change that. Formed in Warsaw in 2015, their debut Mankind’s Odyssey was unleashed on the masses in 2022, delivering NWoBHM with a dose of ”80s–’90s speed/power metal influence. Sophomore album Sentinels of New Dawn promises a similar but more epic brand of sci-fi thunder. With a couple EPs and a full-length already under their belt, how does Aquilla navigate this set of space war stories?

Aquilla’s authentic sound immediately makes it clear they’re not messing around. Since the last time they heeded the call, they’ve been through some lineup shifts, vocalist Captain Paradox and rhythm guitarist Jaspar de Phaser both joining in 2023. The resulting shift in sound is both obvious and a major positive. Captain Paradox is the star of the show, his vocals thoroughly combining the best of the ’80s and wailing wild and free like Kai Hansen (Helloween debut, Gamma Ray) or Michael Knoblich (Scanner debut). But the speed and power metal elements in Sentinels of New Dawn don’t stop at the vocals, they are firmly present in the dueling guitar work of Jaspar de Phaser and Kris Invader as well (“Creed of Fire,” “Technocrats’ Tyranny”). The bouncy and varied drum patterns, together with an ’80s Helloween-coated bass performance (“Technocrats’ Tyranny”), round out the rock-solid, energetic foundation of the album.

The greatest strength of Sentinels of New Dawn is its potent, to-the-point songwriting. Mankind’s Odyssey was at times charming, but had a fairly narrow scope and often forgot the ‘speed’ half of speed metal. Here, Aquilla dedicate much more of the album’s runtime to an all-gas, no-brakes approach, something sorely missing from many others of its kind. The record has plenty of tricks up its sleeve, with dual-harmonized NWoBHM leads (“Plunder & Steel,” “Mountains of Black Sleep”) and fun classic-sounding gang vocals (“Plunder & Steel”) increasing the anthemic factor further. But the band also shows songwriting maturity and variety by dipping into Queensrÿchean melodic segments (“Mountains of Black Sleep,” “Battalion 31”). While the combination isn’t seamless—the middle of the album unevenly packed with most of the slower bits—it suits Aquilla well and makes for an entertaining and multifaceted album. Furthermore, relying less on Iron Maiden worship and being more German speed/power metal-informed (“Creed of Fire,” “Battalion 31”) has improved their songcraft significantly. As a result, it feels like the band has now found their element and figured out their sound, combining aspects of old and new(er).

Aquilla is having fun, and it translates into a frenetic and inspired album. At just under 50 minutes—45 minutes omitting the intro and outro—Sentinels is a brisk and empowering experience. Even the 10-minute epic “The Prophet” flies by; a great combination of an Iron Maiden and Gamma Ray epic, with the second half having some of the best and most triumphant guitars of the bunch. The dramatic intro and synthy outro fit in oddly well, too, neither one overstaying its welcome. That being said, there are still some quirks to iron out. The harsh vocals at the start of “The Curse of Mercurion” aren’t too damaging, but they are a rough listen and feel unnecessary. “Bound to Be King,” though competent, lacks a hook that the other barn burners feature. Nevertheless, every song here is a good time at least, and many of them show signs of brilliance at best.

Sentinels of New Dawn shows a young band developing into form. Aquilla is here to kick ass and take names, and their mix of old and new is lively and exciting to listen to. The songwriting has made major strides in the span of three years; their speed and energy has only grown, and the Polish metal scene is all the richer and more varied for it. I hope Aquilla fleshes out their craft even further for the next one—with this lineup, they’re on the cusp of greatness.

Rating: Very Good!
DR: 6 | Format Reviewed: 320kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#2025 #35 #Aquilla #GammaRay #HeavyMetal #Helloween #HighRollerRecords #IronMaiden #NWOBHM #Oct25 #PolishMetal #PowerMetal #Queensryche #Review #Reviews #Scanner #SentinelsOfNewDawn #SpeedMetal

Helms Deep – Chasing the Dragon Review

By ClarkKent

Helms Deep made quite a splash with their debut, Treacherous Ways, thanks to their high-energy ode to speed metal acts of the ’70s and ’80s. Now they’re back with a little extra firepower in the form of guitarist Ray DeTone and a more progressive-minded drummer in Hal Aponte (Ice Age). The remaining two players make their return, including bassist John Gallagher, who AMG writers have attempted to lure back into the comments section since his infamous critique of Huck N Roll’s review of Raven’s Metal City. Finally, there’s Helms Deep founder and frontman, Alex Sciortino, whose impressive vocals help propel this project to the next level. On Chasing the Dragon, Sciortino promises a new focus while still maintaining their modern take on old-school thrash and traditional heavy metal.

Initially, Chasing the Dragon doesn’t actually sound all that different from Treacherous Ways. Early Satan and Savatage remain strong influences, and you’ll hear classic Iron Maiden, especially on the galloping “Chasing the Dragon.” Judas Priest makes their presence felt on the chugging opener of “Frozen Solid”, while mid-tempo cuts like “Cursed” have a Ride the Lightning-era Metallica feel to them. These songs have a relentless energy with fast, pounding drums and endless riffs oozing from all three guitarists. There are also some new additions to the already impressive Helms Deep sonic repertoire. You’ll first hear it in the final minutes of “Craze of the Vampire,” when the guitar tone takes on a noticeably spacey, prog-like Pink Floyd hue. This turns out to be no accident, as “Red Planet” also dabbles in psychedelia that features arpeggios so fast and fun they’ll make you want to mix your LSD with speed. Even with these psychedelic tones, Helms Deep still promises speed first.

Chasing the Dragon boasts crystal-clear production, allowing the 12-string guitars ample room to soar. Close listens will reward lovers of guitar riffs, and Helms Deep goes buck wild on most songs. “Craze of the Vampire” is a perfect example of the artful fretwork on display, beginning with classical-sounding tremolos, moving into creative rhythm riffs, and putting the icing on the cake with frantic arpeggios during the chorus. It’s not just the 12-string guitars that steal the show. Gallagher’s groovy bass is also prominent. Just listen to the opening of “Black Sefirot” and feel your heart pumping as Gallagher’s noodling prepares you for combat. Sciortino’s riveting voice will spur you onward to battle fierce space dragons as he switches from gruff to high-pitched on the turn of a dime. My one complaint is the drums. Aponte’s work on the kit comes off a bit more repetitive than Mike Heller’s, who handled drums on Treacherous Ways, and gives some songs the feeling that they’re dragging on at parts.

If there’s anything that prevents Chasing the Dragon from achieving greatness, it’s that Helms Deep has pulled a (minor) Senjutsu. While Holdeneye felt that their prior record was “a tad long” at 50 minutes, this one clocks in at almost an hour. The problem with having not one but two 12-string guitars is that musicians don’t want to waste that firepower, and so they play nonstop, almost aimless solos. A number of tracks, such as “Craze of the Vampire” and “Flight of the Harpy,” include three additional minutes of guitar wizardry after Sciortino sets his microphone aside. When the riffs are consistently so fun, however, this is only a minor setback. I might have still given this the 4.0ldeneye treatment if it weren’t for the finale, “Shiva’s Wrath,” a 7+ minute instrumental that falls short of the glory of the classic Metallica instrumentals. It features some fun riffs, but lacks focus.

Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, trying my best to sing along with Sciortino’s anthemic choruses. Fans of that old school thrash and NWoBHM sound should definitely give this one a whirl. It has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project, and I even like the moments of experimental psychedelia he infused in some songs. I will be revisiting this one throughout the year, and I’d probably be considering it for my year-end list if it were more tightly edited. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nameless Grave Records
Websites: helmsdeep666.bandcamp.com | facebook.com/helmsdeep666
Releases Worldwide: June 20th, 2025

#2025 #35 #AmericanMetal #ChasingTheDragon #HeavyMetal #HelmsDeep #IceAge #JudasPriest #Jun25 #Metallica #NamelessGraveRecords #NWOBHM #PinkFloyd #PowerMetal #Raven #Review #Reviews #Satan #Savatage #SpeedMetal

#RIP Paul Di’Anno.

Der ehemalige Sänger von Iron Maiden ist vor ein paar Tagen gestorben und keiner von Euch sagt bescheid! 😥

https://www.youtube.com/watch?v=2i3mRc-ufUI

#HeavyMetal #IronMaiden #NWOBHM #PaulDiAnno

#RIP Paul Di’Anno.

Der ehemalige Sänger von Iron Maiden ist vor ein paar Tagen gestorben und keiner von Euch sagt bescheid! 😥

https://www.youtube.com/watch?v=2i3mRc-ufUI

#HeavyMetal #IronMaiden #NWOBHM #PaulDiAnno

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

#25 #2024 #AFI #AmericanMetal #DianaSDay #DoomMetal #FiadhProductions #FourthDominion #GothMetal #Hole #Jul24 #NWOBHM #postPunk #PunkRock #Review #Reviews #SiouxsieAndTheBanshees #TheCure #UntoOthers

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

#25 #2024 #AFI #AmericanMetal #DianaSDay #DoomMetal #FiadhProductions #FourthDominion #GothMetal #Hole #Jul24 #NWOBHM #postPunk #PunkRock #Review #Reviews #SiouxsieAndTheBanshees #TheCure #UntoOthers

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

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