Description: VENI DOMINE TONGUES Sweden’s Veni Domine has been delivering its unique brand of progressive doom metal since the early nineties, releasing its full length debut, Fall Babylon Fall, in 1992 before following up three years later with the sophomore outing Material Sanctuary. After recording Spiritual Wasteland in 1998, the band went on hiatus – as a result of both problems with its label and a vocal condition afflicting frontman Fredrik Ohlsson – until 2004 when it put out its fourth album overall in The Album Of Labour. Veni Domine, fortunately, continued to remain active by giving us 23:59 in 2006 and its most recent effort, Tongues, the very next year. What we have in Tongues is a versatile work in which Veni Domine draws upon all eras of its two decade history. Most notably, the album finds the group showcasing a technical progressiveness we have not heard since its earlier recordings, Fall Babylon Fall and Material Sanctuary. This is best found on lengthier pieces such as the heavy duty “October”, intricate “Tree Of Life” and the albums ingenious – and at times eclectic – title track (the longest song by Veni Domine since “The Chronicle Of The Seven Seals” from FBF). Nevertheless, the two key words to keep in mind are “technical” and “progressive” in that the material on Tongues comes across quite complex with numerous time changes – some fast paced and up-tempo and others reflecting the doom-like tendencies the band is known for – that keep things fresh and creative throughout. Just give “Scream”, “The Bell Of A Thousand Years” and “The Rider On The White Horse” several spins, three inspired tracks bringing a level of depth guaranteed to keep you coming back time and again. If, on the other hand, you are looking for a catchy and more hook driven sound – similar to that on The Album Of Labour – then check out the abundant melodies characteristic to “Two Times” and “You Leave Me Cold”. Conversely, “Bless My Pain” moves in a swarthy and near Goth-like direction that brings to mind 23:59. Another notable characteristic to Tongues is that it proves to be the heaviest and most guitar driven effort from the band to date. And credit for this, without a doubt must go to guitarist Torbjorn Weinesjo. Before proceeding further, however, I feel it is necessary to take a quick look back at my review of 23:59 in which I made the following statement: That being said, Veni Domine does pull some surprises here, the main one being a lack of emphasis on its instrumental sound- which I find to be particularly disappointing. Guitarist Torbjorn Weinesjo, a very fine talent, does not always cut loose like he has in the past and, as a result, many of the albums track lack that “extra something special” that only a well timed instrumental section can provide. To be honest, folks, Torbjorn’s performance on Tongues is such that I am forced to literally “eat my words”. It is almost as if he read the review in question and said to himself, “Well, I am going to show you!”. And show us he did! With its literal wall of upfront rhythm guitar – crunchy and forward in the mix – Tongues stands out as an effort for the guitar aficionado. The lead work on “October”, “The Bell Of A Thousand Years”, “You Leave Me Cold” and others, for example, represents some of the finest from Torbjorn to date while the bands instrumental prowess – aptly demonstrated on “Tree Of Life” and “Tongues” – cannot be questioned. Lead vocalist Fredrik Sjoholm also remains a force to be reckoned with. Continuing to bring his classic tenor and high end vocal delivery, Fredrick has toned it down “just a bit” when compared to the bands earlier days – not bringing as much wailing or falsetto screams – but still complementing the melding of the progressive and the doom-like the band brings to the table. As with many guitar based albums, production values come across on the crisp and slightly raw side of things. No, not raw to the point of detracting but raw in terms of accentuating the guitar based atmosphere here. Actually, my overall feeling is that Tongues would have benefited from a slight “touch” of polish but, as previously stated, there is nothing detracting here. “October”, a seven minute slab of progressive doom that would not sound out of place on Material Sanctuary, kicks in fast and heavy to a romping guitar riff. Gradually tapering off upon obtaining its first verse, the song slows even further for the forwardly placed bass line that holds sway over the second. A deep and resonant chorus stands in complement to the imposing scene. As “October” continues to slacken, it moves on to an instrumental section in which Torbjorn cuts loose with a brazen stretch of lead guitar. “October”, a seven minute slab of progressive doom that would not sound out of place on Material Sanctuary, kicks in fast and heavy to a romping guitar riff. Gradually tapering off upon obtaining its first verse, the song slows even further for the forwardly placed bass line that holds sway over the second. A deep and resonant chorus stands in complement to the imposing scene. As “October” continues to slacken, it moves on to an instrumental section in which Torbjorn cuts loose with a brazen stretch of lead guitar. What we have here is a song that asks several key questions:Endless progress The dreams will never die Trust our smartness To ride the latest trendIs this a better place? Are we in better shape? Has mankind done it right? Are we equal to God?“Scream” begins to a keyboard solo before grinding through its first verse as a choppy rhythm guitar bounces in and out of the mix. After briefly pausing, the song moves on to a raucously delivered chorus upholding a caustic message:Watching how the hate blackens the sun Watching how the greed kills the breed Who will scream? Waiting for the bomb to scorch the earth Waiting for the numb to steal the words Who will scream?In the end, however, the song offers several words of hope:Prophecies will be fulfilled Mankind hears the earth is quaking On this night He will return Save me Jesus, save my soulThe sublime “The Bell Of A Thousand Years” takes off to a perseverant guitar riff prior to decelerating to a swirling mix of keyboards for its first verse. Abruptly picking up in pace at the start of the second, the song quickly flows ahead only to again slow for a doom-laden chorus backed by a full and resounding low end. Torbjorn’s lead work this time comes across more aggressive (matching the all out energetic aura of the song). “The Bell Of A Thousand Years” gives rise to an apocalyptic theme:The throne in heaven will never fall The just and righteous will hear the call The light of heaven will never fade The pure of heart will never feel betrayed As the bell of a thousand years will toll…“The Rider On The White Horse” starts to several seconds of open air rhythm guitar before trudging ahead in solemn fashion. Gradually building in force, the song culminates upon obtaining an ennobled chorus emanating a plethora of spirited impetus. Subsequent to an instrumental passage highlighting a riveting guitar solo, “The Rider On The White Horse” slows for a passage shored up by a quietly played guitar:On His robe and on His thigh He had this name written THE KING OF KINGS AND LORD OF LORDSRevelation 19:11-16 is the subject matter here:The rider of the white horse Named faithful and true The rider on the white horse Salvation for me and youArmies of heaven were following Dressed in fine linen, white and clean Out of His mouth came a sharp sword With which to strike down the nationsThe hook driven “Two Times” would not sound out of place on The Album Of Labour. The song opens to a drum solo before slowly drifting through its verse portions, initiative gaining as the rhythm guitar cuts in and carries things to a catchy chorus driven by a forward mix of guttural vocal harmonies. Stopping dead in its tracks, “Two Times” transitions to an energetic instrumental section in which Torbjorn again cuts loose. “Two Times” is a song focusing on how God meets our needs: I try to find Some peace of mind You serve, I need You wash my feetLong before I ask You fill me up inside I don’t have to ask Two times, two timesThe portent – almost Goth-like – sounds of “Bless My Pain”, on the other hand, brings to mind 23:59. A quietly played guitar initiates the song, eerily leading the way through its first verse until the rhythm guitar steps forward to drive a portentous chorus talking about how God works for the best in all life’s circumstances:I did not know I never saw Your work behind my pain Lord, bless my pain againTorbjorn’s playing reflects a bluesy feel that stands in line with the dark and ominous environs to the song. In the end, what we have in “Bless My Pain” is a song of faith:The blood is hot under my skin I try to keep the faith and winI did not know I never saw Your work behind my pain Lord, bless my pain again“Stay With Me” commences at once at an upbeat tempo, raging forward to a swell of rhythm guitar only to taper to a pronounced bass line for its first and second verse. The rhythm guitar returns to its previous place of prominence to hold sway over the decisive chorus that follows. “Stay With Me” also dwells upon faith based themes:Stay with me as I believe Stay with me as I will grieve Stay with me as I receive The blasphemy of this tired worldDon’t let go Of personality God will lead Follow sincerity“You Leave Me Cold” gradually plods through its first verse as sweeping keyboards highlight the backdrop. Building initiative in guitar driven fashion, the song acquires a symphonic flavored chorus in which operatic vocal harmonies play a prevailing role. Torbjorn delivers one of the albums better runs of radiant lead work to a number focusing on a soul in need of comfort:The wind from your winding ways Still burns my skin Your truth now will paralyze So cold deep within Your talk is sweet Your talk is sinYou leave me cold I need some warmth Nothing you can say will make me obey You leave me coldTongues closes to its two lengthiest tracks, “Tree Of Life” (9:45) and “Tongues” (16:28). Similar to “October”, “Tree Of Life” proves an over the top progressive piece – too many time changes to go into adequate detail – that harkens back to Fall Babylon Fall and Material Sanctuary . The song begins acoustically as a serene setting is put into place over its first three verses. Once the rhythm guitar crashes in, however, impetus explodes as a tirade of driving riffs carries things to a chorus advancing at an exalted upbeat tempo. A keyboard solo opens an instrumental section driven by an aggressive run of lead guitar. “Tree Of Life” proves aptly named:Eden the peaceful sanctuary What were you thinking? Eve, you became the first sinner Led us out through the gateMade us aware of our nakedness Today we still crave it Practice right and wrong We fool ourselves thinking we are in controlTree of life sowed by God Watered by the holy Tree of life protected by God Fruits to give health and lifeThe albums epic title track starts to a joining of operatic female vocals and medieval style vocal harmonies. The rhythm guitar makes its assertive presence felt a minute into “Tongues”, carrying a toiling load on the way to a steadfast chorus punctuated by Sjoholm’s subdued vocal delivery. As the song reaches its five minute mark, it breaks for a grinding instrumental section underlined by more biting lead guitar (a touch of piano in the background adds to the portent environs). “Tongues” closes out its final minutes in a manner bordering on the eclectic as a blend of ominous riffs and guitar feedback – that fades in and out of the mix – backs narration conveyed in a variety of “tongues”. Acts 2:2-4 is the subject matter here:I’ll stay in your presence To breathe to be free You’re the core, you’re the essence For the wealth inside of meSacred is this moment Breathe air into my lungs Free me from this torment Let me speak in tonguesMy body will listen Your voice is all around You prove that You have risen Creation can’t be boundReview by: Andrew RockwellTrack Listing: “October” (7:39), “Scream” (4:33), “The Bell Of A Thousand Years” (5:06), “The Rider On The White Horse” (5:23), “Two Times” (4:22), “Bless My Pain” (4:26), “Stay With Me” (4:09), “You Leave Me Cold” (5:37), “Tree Of Life” (9:45), “Tongues” (16:28)Musicians Fredrik Sjoholm- Lead Vocals Torbjorn Weinesjo – Guitars, Keyboards & Bass Thomas Weinesjo – DrumsGuest Musicians Peter Carlsohn, Ez Gomer, Andreas Olsson, Gary Kuhstoss – Bass Mattias Cederlund – Piano BRAND NEW FACTORY SEALED-ALWAYS IN STOCK-NO NICK, HOLE PUNCH OR CLUB ISSUE-WE WILL BE GLAD TO COMBINE YOUR ORDER WHEN BUYING MULTIPLE ITEMS. 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Price: 20.95 USD
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Features: Very Rare
Format: CD
CD Grading: Mint (M)
Edition: Limited Edition
Record Label: Massacre Records
Case Type: Jewel Case: Standard
Release Title: Tongues
Artist: Veni Domine
Release Year: 2007
Style: Doom/Sludge Metal, Power/Progressive Metal
Genre: Metal
Case Condition: Mint (M)
Inlay Condition: Mint (M)
Type: Album
