When it comes to progressive doom metal, few match the timeless appeal of Veni Domine. With a sound rooted in the ploddingly swarthy but infused with epic and orchestral arrangements, the Stockholm, Sweden based act captured the hearts of hard music enthusiasts with the 1992 release to its Kingsway Music/R.E.X. Records debut full length Fall Babylon Fall and 1994 Massacre Records sophomore effort Material Sanctuary. Comparison to Candlemass, Fates Warning and early Queensrÿche further realize from the Veni Domine emphasizing of soaring and high-pitched vocals alongside high levels of musicianship and technical expertise. When also factoring melodically ingrained but commercially non-viable songwriting that holds up despite individual tracks in the seven to eight minute range (or greater) and the picture is complete.
Fall Babylon Fall and Material Sanctuary received high praise from Angelic Warlord, noting former placed fourth in an article outlining the top 50 Christian metal albums of the nineties (‘a progressive epic doom metal masterpiece’), while latter ranked first (‘orchestral, operatic and classically influenced but always inspired’). When listened alongside, both albums share near equal levels of musical acumen, but separating Material Sanctuary is stronger production, which further improves from the re-mastering to the September of 2024 Melodic Passion Records CD, digital download and gatefold back or white vinyl reissue. Further merit reveals in upgraded graphic design (attributing to Janne Stark) and Swedish demo bonus track “Jag Lyfter Ogat Mot Himmelen”.
Courtesy of CJ Grimmark (Narnia), re-mastering allows for a cleaner separation of the high end, while low end presents with greater depth and clarity. Fine details such as crisper rhythm guitar, brighter keyboards and lucid bass further separate in the process.
The astute progressiveness to Fall Babylon Fall carries over to eight and half minute opener “The Meeting”. It initiates to stately keyboards and contentious guitar outbursts only to decelerate for Gregorian chanting, with the doom-laden riffs taking over buttressing Fredrik Ohlsson’s uppermost vocals and Thomas Weinesjö’s periodic double kick drum. Chanted, ‘come, come’ backing vocals adorn the distinguished refrain. That said, a calmer side to the song reveals in the mid-point passage conveyed acoustically. Lyric snippet:
Then I felt a presence of someone so close
He spoke to me in languages I never heard before
Looked at me with eyes
That were healing my wounded soul
Everything around me was trembling by His grace
He showed me things that once were hidden
From a sinner's eyes
There is a road for me to walk and
Yes, I stood there waiting
“Ecclesiastes” ensues at nine and half minutes. Song proves even more doom entrenched, ruining from the baleful riffs that toil its distance, albeit not without occasionally enlivening (even if subtly) for moments of a heightened nature. Added time signatures yield in form of the abrupt instrumental outburst leveled by Torbjörn Weinesjö’s principal lead guitar and contrasting reticent passages in which classical guitar holds sway. A Veni Domine trademark reveals in the foremost melody allowing things to remain fresh despite the span.
Albums ensuing seven and half-minute title track elevates to assertive territory. “Material Sanctuary” increasingly lambasts through its voluminous verse sections as honed rhythm guitar and whetted low end lead the way, bursting of conviction upon procuring the showy, hook surmounted refrain. Intricate time signatures separate in the form of milder passages that slacken for church organ and others of a symphonic form to see medieval choir vocals prevail. Lyric snippet:
The spirit of the night is hovering over the earth
Like a cloud with a deadly disease
Consuming us from inside
As we're thanking God for our material welfare
That has become our savior in control
We have to turn back and adjust our ways
Turn back how else can we see His grace
So fall down on your knees in faith
The past will not be counted on Judgement Day
Betrayed by the silence...
“Ritual Of The Sinner” is of similar span. Echoing and reverberant from the get go, song manifests the hulking with its condensed low-end and impermeable predilections but also the congenial as another resplendent melody builds upon the sophisticated partiality. Symphonic leanings further manifest in the form of shimmering keyboards and portent overtures found in periodic church organ. Instrumental passage runs the gamut from double kick drum to rich harmonies and fluid lead guitar.
As albums shortest vocal piece at five and half minutes, “The Mass” foreshadows the abridged songwriting direction on 1998 follow up release Spiritual Warfare. Song shines all the same, with church organ and cavernous choir vocals to start ahead of ominously unhurried riffing, the brusque setting braced as Ohlsson lends a complementary lower register vocal timbre. A mid-point passage sees church organ return alongside layered angelic vocal harmonizing. Lyric snippet:
Bring the oath, bring the incense
Bring the flesh to the altar
Reflect on the times that passed by
Seize the time, seize your dreams
And focus on the wooden cross
Light a candle to the memory of Christ
Let your eyes feel the light
Let it shine from your soul
Behold the truth in the center of the heart
Back to eight-minute territory with “Behold The Signs”. With ringing church bells to start, song amplifies the doom connotations - desolate, foreboding and direful - as sepulchral guitars incise in and out of the mix and symphonic keyboards speak of the anthem like. Despite the prevalent melancholy, Veni Domine flourishes with another bounteous melody to allow “Behold The Signs” to ascend with duplicate play.
“Wrath Of The Lion” ups momentum to near power/progressive metal territory. Song uplifts with its lightsome weaving, winsome in light of effortless harmonizing and inauspicious keyboards of a portent distinction, but also tempered as rumbling background vocals deeply take hold. The arresting virtues to issue speak of a doom tinged Theocracy. Lyric snippet:
The fire will devour us
If we're marked on forehead or wrist
The lion will be the judge
Slay the wolves above suspicion
When our spirits long to hide
The hunting season comes to an end
Breaking the chains of those who lied
The lion from heaven shall descend
“Beyond The Doom” is albums lengthiest as ten minutes. It breaks down into two parts, with first “Prelude To The Doom” aptly entitled as a four-minute doom ballad. Opening minute and half strolls to grim piano and orchestration with timed outbursts of hushed guitar, the windless setting disturbed at once as glacial rhythm guitar bursts forth and coalesces with strident falsettos to cover the remaining span.
Second “Beyond The Doom” is also fittingly named with its darkening overtures, dragging and measured to classical keyboard and grandiose refrain fundamental to somber vocal melodies repeating its title in bracing fashion. A time change, however, is made over the final half to the enthused, uncovered in the double kick drum underscoring keen riffing. Impassioned is the feel as song hauntingly repeats its refrain ahead of ending.
Album closes to woodwind and classical guitar lined two minute instrumental “Baroque Moderne”.
Swedish demo bonus track “Jag Lyfter Ogat Mot Himmelen” defines as six shadowy minutes of lead guitar and quaint keyboards advancing at a Gothic tinged crawling tempo. I encourage Veni Domine to release any additional demo material it might have sitting in the vault.
If interested in a progressive doom metal masterpiece look no further than Veni Domine sophomore effort Material Sanctuary. It maintains the musical brilliance to Fall Babylon Fall in the form of lengthy but melody driven songwriting and superlative band performance. Overall, album proves remarkably consistent as nothing less a classic in presenting without a single down moment. If a fan of doom and progressive metal in its varying forms or interested in an upgraded version to Material Sanctuary, I encourage making the Melodic Passion re-issue a priority purchase.
Review by Andrew Rockwell
Track Listing: “The Meeting” (8:38), “Ecclesiastes” (9:27), “Material Sanctuary” (7:17), “Ritual Of The Sinner” (7:25), “The Mass” (5:27), “Behold The Signs” (8:11), “Wrath Of The Lion” (6:47), “Beyond The Doom” (9:55), “Baroque Moderne” (2:11), “Jag Lyfter Ogat Mot Himmelen” (5:59)
Musicians
Fredrik Ohlsson - Lead Vocals & Acoustic Guitar
Torbjörn Weinesjö - Lead, Rhythm, Acoustic Guitars & Backing Vocals
Magnus Thorman - Bass & Backing Vocals
Thomas Weinesjö - Drums & Backing Vocals
