Metal Caravans

The best way to describe 23:59, the latest effort from Sweden’s Veni Domine, would be a musical continuation of its excellent 2004 release The Album Of Labour.  The album, for example, finds the band distancing itself even further from the progressive metal leanings of its earlier recordings such as Fall Babylon Fall and Material Sanctuary and moving in a direction reflective of a more epic doom-like vibe not unlike that of fellow Swede’s Mirador.  A dark and moody atmosphere, at the same time, cannot help but bring to mind a goth influence or even a touch of the blues as well.  If I were to invite a comparison, the material on 23:59 is not quite as catchy as that on The Album Of Labour but that does not mean it is any less noteworthy.  For example, tracks such as “Valley Of Visions”, “Living Sequence” and “The Frozen” are all well constructed in bringing the same high level of technical expertise found on the bands previous efforts.  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.  Vocalist Fredrik Sjoholm, on the other hand, puts forth type of high quality performance one would expect from him, his vocal delivery now coming across in a lower key that easily complements the darker feel to the music here.  The rhythm section of drummer Thomas Weinesjo and bassist Gabriel Ingemarson returns along with keyboardist Mats Librandt. 
While production values are crisp and clean in allowing for a crunchy rhythm guitar and a clean mix of lead guitar, a touch of muddiness in the low end prevents the drums from always standing out as they should.
The album opens in very fine fashion to three catchy numbers in “Like I’m Crucified”, “Shine” and “Patience, Receive” that would sound right at home on The Album Of Labour.
After “Like I’m Crucified” slowly proceeds through its verse portions as a brush of keyboards fade in and out of the mix, an edgy rhythm guitar steps forward as it picks up in pace for a good catchy chorus.  An eerie instrumental section is carried its extent by a heavy duty bass line that underscores a blend of guitar and keyboards.