Dawn


Sorgh Pa Svarte Vingar Fløgh

Dawn - Sorgh Pa Svarte Vingar Fløgh ©1996 Necropolis
1. Vya Kal
2. Sorrow Flew On Black Wings
3. Soil Of Dead Earth
4. Night Of The Living Dead

S'funny. When I originally got this mini-CD two and a half years ago, it seemed far more exciting than it does now. At the time I was just beginning to immerse myself in the world of black metal and Dawn's dissection of thrash and black metal was immediately appealing. Now when I listen to it, I hear material that falls into the realm of similar-but-indistinct. Dawn is able to create a little of that harsh raw atmosphere that high speed riffing and black metal production can create. Yet at the same time, the material tends to sound stagnant and nothing but average when held up in the company of similar units, such as Dissection, Dark Funeral and any other band whose name starts with D. Dawn may not be clones, but when run together with other bands playing high intensity black metal, they just do not have enough strength to stand above the crowd. This MCD becomes the type of thing you can just dub onto a tape but never really need to have a true copy.

Review by John Chedsey

Review date: 07/1999

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Slaughtersun (Crown Of The Triarchy)

Dawn - Slaughtersun (Crown Of The Triarchy) ©1998 Necropolis
1. The Knell And The World
2. Falcula
3. To Achieve The Ancestral Powers
4. Ride The Wings Of Pestilence
5. The Aphelion Deserts
6. Stalker's Blessing
7. Malediction Murder

Blastbeats, tremolo riffs, requisite apocalyptic lyrical themes. All of these elements drive the black/death genre, and in the right hands yield good results. Dawn is a first tier band in the genre, marrying blasting tempos with positively sinister tremolo melodies with the intention of pulverizing the listener and drawing them into a world of misanthropy and depression. The production is a wall of ambience and white noise, remarkable for its mixture of clarity and power. Unlike many other bands in the death/black genre (e.g. Dissection and Necrophobic) Dawn thrives on repetition. Each riff is repeated over and over, creating a trance-like listening experience. Songs are fairly long and usually built around three or four riffs. My chief problem with the record is the constant barrage of sameness in every track; the riffs are cool but ultimately insubstantial and I find myself nodding off after the tenth or eleventh measure of a given riff. This album is great for a quick twenty minutes of apocalypse, but there's just not enough color or variety to warrant a complete listening session. If they could just condense their ideas and develop a more substantial compositional style, they'd be a truly great band.

Review by James Slone

Review date: 04/2000

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