REVIEW: BENEDICTUM – Dominion

 

BENEDICTUM – Dominion (2011)

Frontiers Records

There was a time back in the mid-’90s when classic Heavy and Power Metal had started gaining serious momentum and had once again become one of the most fashionable trends in metal. But, as with everything else, the music industry likes to keep things moving, so new trends appear, old ones disappear, and the wheel keeps turning. Nowadays, it is the Metalcore and Hardcore era, which means that classic Heavy Metal is often neglected, if not entirely forgotten, by most record labels.

I have never liked the business side of music or the whole concept of trends. For me personally, it all boils down to the things I like to listen to and the things I don’t. I certainly don’t like or accept record labels trying to shove bands down my throat simply because they happen to be the “next big thing” of the current trend. This whole mentality makes me sick. Still, there is light at the end of the tunnel. There is hope, and there is always something exciting to be discovered, because when an interesting, ass-kicking band makes its appearance, true Heavy Metal fans are bound to find it sooner or later.

That is pretty much what happened to me with BENEDICTUM and their third studio album, Dominion. Originally released by Frontiers Records in February 2011 in Europe and March in North America, Dominion arrived at a particularly interesting point in the band’s career. Formed in 2005 and quickly noticed by former DIO guitarist Craig Goldy, Benedictum had already built a reputation with their first two albums, Uncreation and Seasons of Tragedy, as well as appearances at festivals such as Wacken Open Air and Gods of Metal and touring with Doro. For Dominion, they moved to Frontiers and, with a significantly reshuffled line-up around the core duo of vocalist Veronica Freeman and guitarist Pete Wells, brought in Grammy Award-winning producer Ryan Greene, whose credits include Megadeth, NOFX, MxPx and F5.

And believe me, they came, they saw, they conquered!

They simply blew my mind with their classic Heavy Metal structures, infused with quite a few progressive and modern touches. Dominion, running for just over an hour, is here to take us all by storm with its dynamic and powerful compositions, flawless musicianship, memorable riffs and choruses. This is not an album that relies solely on brute force, either. One of the things I particularly like about it is its versatility and variety. It is undoubtedly a powerful and mighty record, but it never lacks melody, atmosphere or beautiful guitar work, and its songs possess different characters and moods.

There are straightforward Heavy Metal anthems such as “Dominion,” “Grind It” and the fist-pumping “Bang,” darker and more threatening material such as “Dark Heart,” more melodic moments such as “Loud Silence,” and then there is “Epsilon,” the nearly nine-minute epic that takes the band into considerably more progressive territory. The latter is probably the clearest indication that Benedictum were not content simply to repeat what they had already done. With its extended structure, keyboards and scorching guitar work, it expands the album’s musical horizon without ever losing its Heavy Metal identity. Guest guitarist Craig Goldy adds his own touch to the track, while the album also benefits from the presence of Jeff Pilson and the legendary Rudy Sarzo, who lays down the bass on “Bang.”

What makes this album stand out, apart from its beautiful compositions, excellent execution and powerful production, is undoubtedly its lead singer, Veronica Freeman. She is one of the best singers I have listened to in a long time, and I am not only referring to female singers. Her voice has such depth, flexibility, aggression and passion that she can sing melodically, scream and growl, shifting effortlessly between different expressions without ever losing her identity. Her range is impressive, but the common denominator in everything she does is that her voice serves the songs rather than merely showing off what she can do. It enhances their character and increases your satisfaction to the maximum. Contemporary reviewers likewise singled out Freeman’s power, versatility and commanding presence as one of the album’s greatest strengths.

Pete Wells, meanwhile, is responsible for a substantial part of the album’s identity. His riffing is heavy, muscular and rooted firmly in the classic British and American Metal traditions, while his solos provide enough technical fireworks to keep things interesting. The rhythm section of Chris Shrum and Mikey Pannone keeps everything firmly under control, and Tony Diaz’s keyboards become particularly important when the band ventures into its more atmospheric and progressive territory. The result is a sound that remains unmistakably Heavy Metal while allowing Benedictum enough room to breathe and experiment.

And if all this isn't enough for you, the album offers two bonus tracks, both of which are actually worth your attention. The first is “Sanctuary,” a beautiful acoustic-based ballad that reveals a considerably softer side of Freeman and the band. It is a welcome change of pace after almost fifty minutes of headbanging, aggression and fist-pumping Heavy Metal. Interestingly, the song was written by Freeman and Wells several years earlier, while Jeff Pilson contributes vocals and acoustic guitar to the recording. Freeman herself has spoken enthusiastically about the song and its collaboration with Pilson.

And then comes the real surprise: “Overture/Temples of Syrinx,” Benedictum’s interpretation of the opening section of Rush’s 2112. Choosing Rush was certainly not the most obvious move for a traditional Heavy Metal band, but it makes perfect sense here, considering the progressive tendencies already present in Dominion. The band stays remarkably close to the original while delivering it through its own heavier perspective. Apparently, the idea came from producer Ryan Greene during the mixing sessions, and even the band’s rhythm section initially thought the song would be a serious challenge. They were not wrong—the result, however, was well worth the effort.

And this is exactly what I like about Dominion. It is not afraid to be a Heavy Metal album first, but it is equally unafraid to stretch its boundaries when the song demands it. It can crush you with a riff, hit you with a chorus, slow down for a melodic passage and then suddenly launch into an eight-minute progressive adventure. The eleven original compositions are followed by the two bonus tracks, making for a remarkably varied listening experience that never feels as predictable as its traditional-metal foundations might suggest.

Of course, Dominion is not without its imperfections. Some of its ideas are stronger than others, and the album’s ambition occasionally threatens to become a little too much. But even its weaker moments are outweighed by the sheer energy, musicianship and personality that Benedictum bring to the table. This is a band with something that many technically proficient modern acts seem to lack: character.

And that, ultimately, is what makes Dominion such an enjoyable record.

In an era when trends come and go and record labels constantly search for the next fashionable sound, Benedictum simply played Heavy Metal on their own terms. They brought the riffs, the power, the melody, the progressive touches and, above all, Veronica Freeman’s phenomenal voice. Dominion may not reinvent Heavy Metal—and it certainly does not need to. It simply reminds us why we fell in love with the genre in the first place.

Check them out. Turn it up. And let Benedictum do the rest.

Christine  Parastatidou