Released: 2013, PRV Distributor/label
Reviewer: Metal-Rules.com UK Team
Hailing from Buenos Aires, the capital of Argentinia, come power metallers Domination who inspired by the challenge of crossing borders and embrace the concept of Russia's early twentieth century with the highest possible quality and uniqueness. When they first hit the scene, they began playing audiovisual shows that portrayed their story in a demanding manner. Now they aim to take this presentation of their story to the recorded format and so Doomed In Nation was created.
The short-lived track “Something Grows” begins the album, composed of samples and other effects whilst the typically power metal sounding riffs of “Harder Than Steel” soon take over the album. The vocals are raspier than expected but still hold a melodic sway over the furious charge of guitars, and rhythm melded together to create an unexpectedly enjoyable track. “What Steel Claims” makes for a strange interlude, constructed from a sample of one of the vocal lines from the previous tracks and the sound of a door opening and closing though this is soon forgotten when the Dragonforceesque riffs of “From The Other Land” begin to mesmerise.
The raspy vocals prove to be a highlight of the track whilst the use of bass leaves something to be desired.
“Enemy Planted” rages through the album, bellowing out a sound reminiscent of the old school thrash regime whereas “All Around Dead – Colors Becomes Dark” is a far more mournful song, making use of a gentle introduction before proverbially bursting the listener’s eardrums with heavier, more violent riffs and barbarically but acutely performed drums. “The Red Era Begins” is another interlude that leads into the fierce and NWOBHM sounding title track: “Doomed In Nation”. Some of the riffs and licks possess a grandiose nature whilst the vocals are much more Cimmerian in their sound, injecting a healthy dose of a Hadean atmosphere into the song.
“On The Edge” is the final interlude of the album, which is a good thing as the interludes do become irksome since they take away from the majesty of the rest of the album. “The Mission” begins sounding like an abstract Metallica demo before a heavy assault of guitars begins their bombardment alongside the fearsome artillery of drums and bass. “In Front Of Reality - Follow The Beat of Your Heart” is a relatively tame song compared to some of the previous tracks though some of the passages demonstrate the brilliant talent of the band. “At The Gates Of Hell – My Last Regret” begins with a solemn, almost mournful introduction before the guitars take a sharp turn down a trailblazing lane, upping the sound and the pace, leaving nothing but devastation in its wake.
Nearing the end of the album comes “Bring Me Peace”, which is another track that begins with a sorrowful passage, allowing a new emotional dynamic to be heard throughout both the vocals and the music. “OrbHb” brings the album back into the fast paced lane of driving riffs and hypnotic drums but it also brings about the emotional dynamic of “Bring Me Peace”, combining some of the finer points of the album. A cover of Accept’s “Metal Heart” finishes the album in cumbersome manner with a shade of Plutonian darkness painted through the music and unexpected strength in the vocals.
While the album is marketed as power metal, there are definite signs of other elements thrown into the mix such as NWOBHM and thrash metal, which makes it more interesting than the usual releases found in power metal though the interludes do ruin the flow of the album.
Review by Nico Davidson