I just allege that this Maltese outfit around singer Leo Stivala has found its final style with their third record Dominaeon. And this style – to do these unloved band comparisons – ranges between Candlemass, Solitude Aeturnus and the slower tracks of the first two Hades albums. That’s on one hand due to Leo’s voice that reminds me of a straighter and heavier version of Alan Tecchio and on the other due to the heaviness and melodic dramatic art FORSAKEN fervently celebrates their songs.
They kick off with the beautifully staged and with powerful guitar work garnished intro The Abscondant God leading over to the title-track afterwards. Already here all above mentioned strength gets displayed: heavy but melodic and varied guitar work, underplayed with a powerful rhythm front and refined with this special and great singing. Just once in a blue moon you get such pitch of voice offered with such power.
Epic Obsidian Dreams and the quiet The Celestial Alchemist get supported by the choir of St. Monica School in Mostar, which turns out really great. Definitely two another highlights on this record! But unfortunately little weaknesses creep in afterwards. For example Daylight Dies is running too long and cannot keep the tension over the entire song, while Resurgam acts a bit too schematic, despite of some cool riffs. On the other hand with the doomy Kenosis FORSAKEN deliver another crushing first-class track, letting the positive impression prevail.
What stroke me is that FORSAKEN didn’t use any keyboards. That might be due to the fact that their key wiz left the band. Furthermore the production is again firm and powerful, leaving nothing to be desired. But for all that it’s “just” enough for 8 points, because Dominaeon doesn’t appear that coherent as the predecessor Anima Mundi did. But maybe it is just because I miss the surprise effect I enjoyed with the last album …