Domkraft’s third full-length is filled with colossal sounds made up some of the gnarliest, most nasty sounding riffs that Tony Iommi and Geezer Butler wished they’d discovered first. Cap off all that inherent Heavy with an exquisite musicianship throughout and Seeds is easily a contender for many a year-end best list. Including ours.
But I digress.
The title track alone which opens this magnum opus is worth the price of admission alone (Read: the cost of a digital copy at the very least..I mean it’s currently only $7 fer chrissakes!) as it saunters in like a majestic macabre Black Sabbath creation (Airs of “War Pigs” are definitely running through the veins of the fingers playing the bass here) with echoes of contemporaries like Summoner to make this grand concoction the most excellent and only lurching behemoth of riffs you’ll need to hear this year.
A ferocious fuzz envelopes all in waves during “Perpetuator” which has Martin Wegeland’s boomin’ bass on full display almost as much as his careening croon which is sure to caress your earholes with the way these dense vocal patterns soar alongside Martin Widholm’s guitar wails. Speaking of Widholm’s axe, “Into Orbit” takes the guitar tones to another galaxy with the way they weave in and out of focus like a rocket navigating an asteroid field in the deep recesses of space as Wegeland’s anguished cries ring out. Anders Dahlgren’s drums rumble nicely alongside Wegeland’s low end for the tribal groove of “Dawn of Man” while “Tremors” is built from a manic sense of unease with the way Wegeland, Widholm, and Dahlgren’s instruments intersect and interact.
“Krank Blekhet” serves as both a brief instrumental interlude and a prelude as a calm before the storm that is closer “Audiodome” which is this huge swirling, sprawling beast that excitedly stirs up a veritable tornado of DOMKRAFT-branded heaviness before simmering to a slight boil yet continuing to Rawk and exiting while the party’s still good.