Musical Style: Progressive Doom Metal	Produced By: Ragne & Styrbjörn Wahlquist
Record Label: Thunderload / Retroactive	Country Of Origin: Sweden
Year Released: 1998 / 2026	Artist Website:
Tracks: 10	Rating: 90%
Running Time: 61:14

On its January of 1998 Thunderload Records third full length album Spiritual Wasteland, Veni Domine dips its toes in more atmospheric and keyboard heavy musical waters.  The Stockholm, Sweden based act still remains true to the orchestral progressive doom metal defining its superlative R.E.X. Records 1992 debut full length Fall Babylon Fall and equally laudable 1994 Massacre Records sophomore effort Material Sanctuary (both recipients of 100% Angelic Warlord graded reviews).  That said, on Spiritual Wasteland Veni Domine places greater emphasis on haunting signatures and somber if not melancholic passages that foreshadow the slower and moodier sounds to Rivel Records 2004 fourth full length album The Album Of Labour: IIII and MCM Records 2006 fifth 23:59.  In a sense, Spiritual Wasteland finds Veni Domine transitioning from the heavier and epic partialities to the first two albums and embracing the moodier and darker thoughts defining the two that follow to create a best of both worlds scenario.

Fall Babylon Fall and Material Sanctuary might have gone out of print but were not that difficult to find due to seeing release on relatively well known labels R.E.X. and Massacre- it also does not hurt that Melodic Passion Records reissued both in 2024.  Spiritual Wasteland, however, was more challenging to acquire back in the day due to release on lesser-known Thunderload Records.  I recall the album not being made available domestically and having to place a check in the mail to a European import music distributor and waiting literally six months for the CD to arrive.  To this day, it can be difficult to locate a copy of Spiritual Wasteland and when you do, prices can border on the unreasonable.

This, however, rectifies with a much-needed June 1, 2026 (CD version) and July 15, 2026 (vinyl) Retroactive Records reissue to Spiritual Wasteland.  Upgrades come in the form of updated cover art and packaging (noting the work of Scott Waters of NLTM Graphics) and a fresh re-master from Rob Colwell.  The Thunderload production sounds fine for its time, but the Colwell re-mastering brings the album up to modern standards with a dose of polish allowing for a brighter keyboard mix, added clarity to low end and further rhythm guitar punch.  Much of the flatness to the original is bereft as a result.

Another change is how on Spiritual Wasteland Veni Domine backs from the seven to eight minute songwriting partiality to Fall Babylon Fall and Material Sanctuary for material in the five to six minute range with the occasional return to an epic form.  Hence, dynamic opening five minute cut “Dawn Of Time”, which is one of albums finest with its firsthand at once hooks and vocal intensity to front man Fredrik Ohlsson, whom remains a force with his high end Queensrÿche inspired vocal style.  Am I out of line to suggest the song brings a Narnia style power metal bent but overridden with signature starker Veni Domine style overtures?  Lyric snippet:

Hear the pounding of the secrets
That is buried deep inside
Like the tales deep in the sacred
That spread diseases wide

Death is all around
Been there since the dawn of time
There is murder in the air
Been there since the dawn of time

For those concerned Veni Domine has not forsaken its progressive roots in that albums lengthiest ensues in the nine minute “Last Letter From Earth”.  Song fits nicely with the group’s early material, beginning to a two-minute instrumental opening ranging from eerie spoken word to sterner overtures prior to morphing into an innate plodder in which Veni Domine is renown.  A slogging doom-like interweaving of symphonic keyboards and acoustic guitar with austere rhythm guitar and solemn backing vocals but not retreating from any protracted instrumental proclivity.  When further factoring the dour but arresting melody, “Last Letter From Earth” imparts of the abiding despite the span.

Starting with the six minute “If I Fall Asleep”, group introduces its newfound portent and atmospheric musical weavings.  It labors to bottom heavy bass, staying true to the doom laden with a crestfallen temper as forlorn keyboards and acoustic guitar align with wintry backing vocals.  Yet, a cold and chill Gothic ballad allure reveals in the dusky warnings.  Lyric snippet:

The depth of the colour of the blood red heart
Yet always sees the mask

If I fall asleep
Will I wake up in a brand new eden
Where water falls make the only noise I'll know
Watch me fall asleep
I don't mind what ever you see
The golden halls of eden call within

“Hysterical History” is first of two in the five and half-minute range.  Song shines with its varied progressiveness, interweaving reverberating instants in which industrial keyboards command the forefront and others of a spiked framework as straight on guitar makes a metal infused impact.  Instrumentally, Torbjörn Weinesjö shines with his extended soloing.

“Riddle Of Eternity” represents another keyboard-distinguished track.  Following a waves washing upon the shore introduction, song decelerates to a crawl as sweeping keyboards play an advanced role for the attentive verse sections only to give way to piano for the gallant refrain.  The enchanting melody subtly hints of Album Of Labour track “Eli Lema Sabachtani”.  Lyric snippet:

I see the face of an ancient king

The storm that came this day was no surprise
The book of life revealed before my eyes

Alone I stand when all is gone
Riddle of eternity
Alone I stand, it's the sign of the times
Alone I stand when all is gone
Riddle of eternity

Second epic ensues in the eight-minute “The Temple”.  What we have is a progressive doom-metal aficionado’s delight, a downtrodden mindset ascending the songs span as portent harmonies and flogging riffs contrast with the elegant if not disconsolate melody to command.  The time signature over the three and half-minute instrumental run from bluesy guitar leads to ascending feedback is pure epic.  Imagine a doom tinged Theocracy.

Spiritual Wasteland returns to five-minute territory with “Someone’s Knocking”.  What we have is an experimental track, offbeat with an intense vibe in which a crushing bass provoked low end leaves impression song is heaver than it actually is.  The vaporous melody and gossamer keyboards further build upon the outside the box themes.  Lyric snippet:

This frightened soul of mine
Turns wistful in the sight of grace
The presence, the caress
Will make my heart confess

Someone is knocking on my door
Someone, a serpent from before
Yet someone, the lament for the poor
Just one, will rise and one will fall

Also in the five-minute range, “Silent Lamb” is a master class in creative variances.  Song jump-starts to keyed-up riffing and power metal style double kick drum, pushing through its hoisted verse sections only to constrain for the Gregorian chanting actuating the regal refrain.  At the halfway point, a classical guitar woven passage stays true to the medieval themes.

Final epic “1:st Of Ten” is not so much albums best track as it rates among the groups finest.  Song revisits an orchestral progressive doom slant, spurred at a surprisingly brisk tempo with backend symphonic keyboards but periodically slackening for graceful acoustic passages.  The anthem like ‘time stands still… in silence’ refrain is one for all the ages.  Multiple instrumental excursions allow Veni Domine to shine from a musicianship standpoint.  I place this one alongside the best Dream Theater and Shadow Gallery offered from the decade.  Lyric snippet:

I am the lord your God, who brought you out of Egypt
Out of the land of slavery, you shall have no other gods before me

Holy Father, eye to eye, teach me wisdom, how to fly
Holy Father, mend my wing, a touch of heaven, you will bring

May be so, it's clear, the way to heaven, or is it fear
Say the name, there is no pain, just say the name

Time stands still... awaiting
One breath controls the ocean
Time stands still... in silence
Lord of all

Narration based closer “The Letter” draws upon Book of Revelation and End Times themes.  Specifically, song is written from standpoint of a self-proclaimed ‘enemy of the state of world peace’ who considers himself the ‘last final martyr’, with the overall theme revolving around remaining faithful in the face of persecution.

Spiritual Wasteland equates to another dynamic Veni Domine album.  No, in my opinion not quite reaching the heights of Fall Babylon Fall and Material Sanctuary but exceptional all the same with the group exploring a more keyboard heavy if not ethereal musical framework but without forsaking its progressive doom metal roots.  If you were unable to obtain Spiritual Wasteland back in the day or are interested in an upgraded version, the improved re-mastering and packaging makes obtaining the Retroactive reissue a top priority.

Review by Andrew Rockwell

Track Listing: “Dawn Of Time” (5:30), “Last Letter From Earth” (8:52), “If I Fall Asleep” (6:18), “Hysterical History” (5:46), “Riddle Of Eternity” (5:40), “The Temple” (7:57), “Someone’s Knocking” (5:11), “Silent Lamb” (5:02), “1:st Of Ten” (7:52), “The Letter” (3:14)

Musicians
Fredrik Ohlsson - Lead Vocals & Acoustic Guitar
Torbjörn Weinesjö – Lead & Acoustic Guitars & Backing Vocals
Gabriel Ingemarson - Bass & Backing Vocals
Mattias Cederlund - Keyboards & Backing Vocals
Thomas Weinesjö - Drums & Backing Vocals

Additional Musicians
Kjell Bjurling - Cello