Divided into three chapters, it would appear that Dawn is a concept album of sorts, however, without any liner notes or lyrics it’s near impossible to determine exactly what the plot of the story being told is. Given that past releases have delved heavily into historical events rather than fantasy, it’s safe to assume that this outing would follow in suit. From what I’ve gathered I could elevate toward a handful of different scenarios but in the end I’d still probably be way off, so I’ll spare you my speculation.

With twelve remarkable tracks spread over fifty-plus minutes, finding the one song that stands out among the others is a daunting task, as nearly every second of Dawn is competently and passionately performed. Each track boasts a well balanced mix of mid to up-tempo pacing with a heavy emphasis on melodies that are as technical as they are memorable. Some may argue that the five part centerpiece “The Legacy Suite” as a whole is the album’s crowning achievement, and while I won’t dismiss its significance, I feel it’s too short in length to warrant the multi track treatment when it could have just as easily been one fifteen minute song. Other than that single inconsequential grievance there is nothing negative that I could possibly say about this album.

While I was previously unfamiliar with Thy Majestie, Dawn has impressed me enough to ensure a trek through the band’s back catalogue, sooner than later. What I initially assumed would be a generic Rhapsody knockoff surprisingly turned out to be nothing less than top tier power metal with the occasional progressive accent. If you enjoy the aforementioned Axenstar and Dragonland as well as acts such as Nocturnal Rites, Dark Moor, Crystal Eyes, and Kamelot, I’d strongly recommend adding Dawn to your album collection as it possesses all of the genres finest qualities and very few of its faults.

Thy Bleeding Skies utilize a mostly slower pace throughout the disc that helps to give them a bit of a doom laden feel alongside sullen melodies that are ever present. Vocally, Enzler mostly stays with a low, grizzly register reminiscent of Johan Hegg (which is only part of the Amon Amarth vibe), but occasionally touches upon raspier, near black metal territory and in two songs (“Slumber” and “Where Life Shall Grow”), uses a very somber, clean delivery that works to great extent in adding to the generally doomy vibe.

At just a mere eight tracks, you’d think Chapters of Downfall would just breeze by, but that’s simply not the case, as three of these tunes clock in over seven minutes, and one more just shy of that mark. Despite the longer songs, the album kicks off with shortest and most aggressive track, “At the Edge”. The only truly up-tempo song on the album, it reminds me somewhat of more recent Kataklysm with its chunky, crushing groove and just a bit of melody laid over the top. A slightly misleading opener, as things slow down from here.

“Curveball” probably wasn’t the best follow up track, as it’s seven plus minute running time seems to drag on and never really goes anywhere. It’s a bit too repetitious, and is the only time that I feel truly bored with the album. “Thy Bleeding Skies” is where the Amon Amarth comparison really kicks in – it’s got an almost epic feel to the gloomy melodies, and is a standout track. “Burning Angels” starts with some thick groove, then shifts gears into the sulky melody of the two previous tracks before giving way to buzzsaw riffing, stern double bass and back again. “Die Ideale” has some more of the epic feel that I spoke of prior, particularly in the fantastic solo work.

The last two tracks, “Slumber” and “Where Life Shall Grow”, are perhaps the two best on Chapters of Downfall. Both are chock full of feeling and feature some great soloing. The former song really raises the bar when the first clean vocals of the album appear – they just take the song and the album to a whole new headspace. The latter is more of the same really, maybe with a slightly quicker step however. The clean vocals dominate most of the track, but alternate with the growls to great effect.

The promo sheet accompanying the album states that Thy Bleeding Skies is musically influenced by Edge of Sanity, Hypocrisy, Katatonia and Entombed – while I certainly do not hear the Entombed and I’m not familiar with much of Katatonia’s work, the first two seem to be valid reference points, though I still think the closest comparison is a doom inspired Amon Amarth and think their fans would also find something to chew on here. Chapters of Downfall is a fine debut that I’m sure I’ll revisit a few more times this summer from a band that I’ll be keeping an eye on in the future.

What makes them so “painfully boring” you might ask? Well for starters, they seem to model themselves after the two most unsuccessfully mimicked and ripped-off bands in the history of metal, Pantera and At the Gates (occasionally), and it comes out rather third rate. As for the hardcore influence, any band of your choice would do, as I don’t really listen to any of it and do not have the knowledge to namedrop anyone from the genre – not my cup of tea (or mug o’ brew if you prefer).

To make matters worse, they make no attempt to stay away from the redundant breakdowns that have been all the rage within the metalcore realm over the past few years, which makes them that much more annoying.

I’m not going to waste your or my time by diving into songs individually, so to sum it up shortly, you could take just about any track on display here, and find riffs from the Pantera catalog from ’92 onward, butchered and simplified, an aimless and seemingly just there for the heavy factor breakdown, little bits of At the Gates inspired melody or solo work, and the ever present tough guy, modeled after Phil Anselmo or any number of similar vocalists styled vocals – there you have it. Though if I was to pick one somewhat bright spot on the album, it would be the closer “The Last Chapter”, as it features some pretty cool riffing that wanders into almost death/thrash territory, even if it is to be ruined by more of the same thereafter.

Their one attempt at some real diversity comes from the mid album instrumental “Solitude”, just like so many other albums out there that put this sort of track mid album to try and break up the monotony – they take out all the aggression and load up on melody – I’m sorry, but this isn’t enough to make me forget that I just listened to the same song with slight variations five times over, and the feeling that I’m gonna hear four or five more just like it – ugh.

To be completely fair, four or five years ago, I probably would’ve ate this shit up, but I just didn’t know any better, and my musical tastes were still pretty narrow in scope. I’d venture to say that anyone susceptible to tough guy core would dig it, but there’s so much better stuff in the same vein out there. I love Pantera, have since I first discovered metal at the tender age of 12 or 13 and always will, but I can’t stand to see them copied and ripped off by third rate pretenders – back to the drawing board boys.

An expected, crisp clean (Finnvox Studio) production delivers the crunchy, somber riffs while Carlo Belanni croons and occasionally growls with the assistance of Valentina Turati’s operatic lungs. It’s a formula that’s all too common on European shores, and Tragodia are hardly re-inventing the wheel, but it’s not completely worthless as a few riffs here and there are certainly worth your time if you are fan of the genre.

Turati’s and Belanni’s vocals (growls and croons) and the low key synths are never over the top or domineering as the riffs take center stage, with a sound and pace reminiscent of the Finnish doom/death scene (above and beyond the Finnvox production) due to their chunky but layered and despondency filled trot (think Rapture). . Tracks like “Forsaken Dreams”, “Icons in a Wasteland”, “Elegy of the Restless” and “Downfall of The Ancients” have a thicker, deeper presence that’s a bit more hefty than the Napalm style of Gothic metal. However, expected dramatic ballads like “Love Among the Ruins” and instrumental “Deep Space Confine” deliver softer, more delicate moments of Gothic mood.

A solid release, and the better of the recent Dark Balance Gothic metal efforts.

The first issue is Decker, who has served with various Opera companies, and it’s not with her voice, as it’s a supremely operatic once, it’s just that it’s a bit too shrill for the style of metal it’s overlaying. Then, the more complex, jarring nature of most of the material, just ends up colliding with Decker’s voice, rather and creating a symbiotic musical relationship-a key element on female fronted metal. Opener “Run For Me” pretty much sets this sound up from the get go, which is a shame as it’s a poor choice to start the album.

However, after the awkward opening track, Mena Brinno delve into a more laid back, almost Celtic and acoustic influenced sound such as “The Lone Green Valley”, “Love is a Terrible Thing” or “Precipice” which have some flute flourishes amid the guitars and singing or more traditional Gothic metal somberness as heard on the title track, “Pleading” or “This Meeting”. Still, though the musical interplay between Kozlowski’s guitars and Decker’s voice is never really that comfortable, as the chorus of “The Lone Green Valley” “Theodora” and closer “Nightbird” show.

Decker seems talented but miscast in Mena Brinno (I have not heard Royal Anguish), as it seem that opera is her real calling, not forcing her considerable pipes into metal. But even with a more fitting crooner, I’m not sure Mena Brinno would not be anything to write home about.