ALBUM REVIEW: Diana’s Day – Fourth Dominion
Goth rockers FOURTH DOMINION make a bold statement of intent on their sophomore full-length Diana’s Day, folding NWOBHM style soaring guitar work with new wave inspired bass grooves and contemplative gothic metal together for a uniquely compelling experience.
While the Rochester, New York-based quartet’s 2017 debut Wings Of A Dying Crow brought a classic punk edge to their sound, follow-up Diana’s Day leans in a more experimental direction, embracing the 80s new wave and post-punk sounds of bands like THE CURE and SIOUXSIE AND THE BANSHEES with their driving basslines and swirling guitars alongside IRON MAIDEN style lead guitars and the occult aesthetics of BLACK SABBATH. Despite wearing their influences on their sleeves, FOURTH DOMINION manage to sound totally unique with a polished combination of classic heavy metal and punk sounds.
From opening track Bloodstains it’s clear that FOURTH DOMINION are something special, breathing new life into familiar post-punk tropes with a galloping momentum and passionate lyrics contemplating queer growth through suffering. Setting the scene for the rest of the album, Bloodstains balances driving goth metal energy with frontwoman Meadow Wyand’s introspective lyrics and commanding vocal performance. FOURTH DOMINION waste no time in showcasing their unique sound, confidently striding into Diana’s Day with a powerful and memorable opener, establishing themes and sonic motifs that reverberate throughout the rest of the album.
While FOURTH DOMINION do draw from some older influences they shouldn’t be mistaken for a retro throwback; the band’s modern sensibilities bring their inspirations’ sounds up to date with a healthy dose of contemporary political rage. The song Burn The Prisons! takes the gloomy vibes and driving basslines of new wave bands like BAUHAUS and injects them with a shot of politically charged metal adrenaline, while Hill Of Swords brings the band’s soaring JUDAS PRIEST style guitar work into a new context with deep, intimate vocals and eerie atmospheric sections. FOURTH DOMINION do more than enough to escape the label of kitschy 80s throwback despite taking clear inspiration from multiple genres from the decade by blending together warring subcultures with their modern sensibilities.
The track Goetia stands out as one of the highlights, keeping up a strong sense of momentum without losing an ounce of what makes FOURTH DOMINION so unique. It lets the drums lead the song, building the rest of the track around a driving groove, creating space for thunderous bass and chorus drenched guitars to create a vibrant backdrop for Wyand’s ominous and alluring vocals. While the other tracks on Diana’s Day don’t exactly crawl along, Goetia makes clear use of the band’s punk background with an unrelenting sense of urgency without losing any of their creeping, gothic sound.
It’s impressive to hear how much ground FOURTH DOMINION manage to cover on the ten tracks of Diana’s Day while crafting their specific, individual voice. From the roaring riffs of tracks like Burn The Prisons! or Death In Fall to the more intimate and progressive Her Wings and the album’s acoustic guitar-led closer Casca Dreaming, the band keep their particular brand of new wave inspired gothic metal sounding fresh. Finding the perfect balance between ferocious punk rage, melodramatic metal riffs and dark gothic intimacy, FOURTH DOMINION have delivered one of the year’s most vital albums. Taking pointers from the band’s varied influences, Diana’s Day manages to appeal to fans of new wave, goth rock and classic heavy metal while still carving out a definitive voice for FOURTH DOMINION.
Rating: 8/10
Diana’s Day is set for release on August 2nd via Fiadh Productions.
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