Dragonlord – Dominion

Origin : USA

Genre : Symphonic Black Metal

Release : 2018

Album Info / Review

Intro:
Dragonlord, the brainchild of Dimmu Borgir’s Shagrath, has always occupied a peculiar niche within the symphonic black metal landscape. “Dominion,” their third full-length offering, released in 2005, represents a fascinating, if somewhat uneven, exploration of their established sonic palette. Eschewing some of the more overt symphonic grandeur of their previous work, “Dominion” leans into a grittier, more direct form of extreme metal, while still retaining the thematic and atmospheric underpinnings that define the Dragonlord moniker. This album is a testament to the band’s willingness to experiment within their established framework, resulting in a collection of tracks that are both familiar and surprisingly fresh. It’s an album that demands a deep dive, rewarding attentive listeners with layers of intricate musicianship and a palpable sense of dark, cosmic dread.

Track Analysis:
“**The God of War**” opens the album with a thunderous, almost industrial-tinged blast beat that immediately sets a more aggressive tone than expected. The riffing is chunky and driving, underpinned by a sinister, almost Gregorian chant-like synth line that adds a layer of ritualistic menace. Shagrath’s vocals are a guttural roar, laced with venom, but surprisingly intelligible. The track builds with a relentless intensity, featuring a surprisingly melodic yet dissonant guitar solo that cuts through the sonic onslaught.

“**Bloodline**” shifts gears slightly, introducing a more mid-paced, grooving rhythm. The guitar work here is more intricate, with interwoven melodic lines that create a sense of soaring darkness. The symphonic elements are more subtle, manifesting as atmospheric pads and choir-like textures that swell and recede, enhancing the epic feel without overwhelming the core metal aggression. The drums are a masterclass in controlled power, with precise double-bass work and impactful snare hits.

“**Dominion**” itself is a sprawling, epic centerpiece. It begins with a desolate, almost ambient intro, featuring spoken word passages that paint a picture of cosmic desolation. This gives way to a colossal, riff-driven section that feels both majestic and crushing. The symphonic arrangements are more prominent here, weaving intricate orchestral passages that complement the heavy guitar work. Shagrath’s vocal performance is varied, moving from harsh growls to cleaner, more theatrical pronouncements. The track features a significant instrumental break where the guitars and synths engage in a complex, almost operatic dialogue.

“**My Awakening**” returns to a more direct, thrash-influenced attack. The riffing is sharp and aggressive, with a relentless pace that demands headbanging. There’s a palpable sense of urgency in this track, propelled by the frenetic drumming and Shagrath’s impassioned screams. The melodic elements are present but serve more as fleeting glimpses of light in a storm of darkness.

“**The Serpent’s Embrace**” introduces a more brooding, almost doomy atmosphere. The tempo slows considerably, allowing the heavy, distorted guitars to create a suffocating wall of sound. The synths here are employed to create a sense of unease and dread, with dissonant chords and unsettling textures. The vocal delivery is more measured, almost sneering, adding to the track’s sinister allure.

“**In the Name of the Father**” picks up the pace again, with a driving, anthemic quality. The guitar riffs are more accessible, bordering on melodic death metal in their execution, while the symphonic elements provide a grand, almost triumphant backdrop. This track feels like a battle cry, a declaration of defiance against unseen forces.

“**The Battle of the Morannon**” is a purely instrumental track, a sonic tapestry of orchestral grandeur and blistering guitar solos. It’s a cinematic piece, evoking images of vast armies clashing on a desolate plain. The synths are the dominant force here, but the guitars weave in and out with virtuosic flair, creating a powerful and evocative soundscape.

“**At the Gates of Hell**” closes the album with a return to the aggressive, symphonic black metal sound that Dragonlord is known for. The blast beats are back, the riffs are sharp and venomous, and the symphonic arrangements are woven in with surgical precision. Shagrath’s vocals are at their most ferocious, delivering a final, defiant roar. The track ends abruptly, leaving the listener in a state of stunned silence.

Conclusion:
“Dominion” is a significant album in Dragonlord’s discography, showcasing a band comfortable in their own skin while still pushing the boundaries of their sound. It’s an album that balances raw aggression with sophisticated symphonic arrangements, creating a potent and often breathtaking listening experience. While not every track may reach the same heights, the overall journey is compelling and rewarding. The production is crisp and powerful, allowing each instrument to breathe while maintaining a cohesive and immense sonic presence. “Dominion” solidifies Dragonlord’s position as purveyors of dark, epic, and uncompromising extreme metal.

Rating: 8.7/10

Highlight Track: Dominion