3 Jun 2020
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Domes - Single Review: Malady

19 Nov 2019 // A review by Kerry Monaghan

Established as a bold, creative adventure with the goal of creating a record from scratch, from the opposite end of the world and all within one year, is a brave statement, let alone something to follow through with. Radically, it seems to be working if Domes' debut single, Malady is anything to go by.

If Malady was a feeling, it would be that dizzying heightened sense of awareness as your equilibrium becomes unbalanced and moves back into focus. You’re glad to be back down to earth because that was one hell of a ride.

With thick, sludgy bass riffs straight off the bat, within the first minute you might assume you know where this is headed. Well, that stops here.

With a metal core steeped with rumbly stoner riffs and topped off with post hardcore and melodic vocals, this isn’t just the band’s debut single, it's an intentional piece artlaced with so much detail that if you blink too often, you’re likely to miss all the good stuff.

With so many changes in tempo, it's easy to hear the vast spread of experience that vocalist and guitarist, Matthew Bosher and bassist Brendon Kahi (both previously of Decortica fame), along with drummer Dan Bosher bring to the table, following the devastatingly good peaks and troughs of intensity with some fantastic harmony. It's frantic, but never rushed, and while there are so many contrasting styles that could almost sound too busy, everything has its place. In this instance you can have you cake and eat it too.

The fact that this track was recorded on a 1939 heritage vessel moored on the River Thames in London and mastered at the iconic Abbey Road Studios just adds to the sense of excitement in Domes musical journey, and I can’t wait to hear what else is in store.

Rating: ( 5 / 5 )
 

About Domes

Domes started as an adventure—a big, bold idea to galvanise musicians Brendon Kahi and Mathew Bosher in a creative sprint. The goal: to start from scratch and record on the other side of the world in one year.

Distilling their accumulated experience across several bands, album releases and international tours, the project was designed to celebrate the art while avoiding the mundanity and mistakes of operating a band in the usual way. The result was a unique experience in every sense: from an experimental songwriting approach to recording on an 80-year-old heritage vessel some 18,000 kilometres away (Bosher resides in New Zealand, Kahi in Australia).

This is metal with elements of space rock and post-hardcore. “We’re writing songs that we want to hear. We’re going after heavy music that’s forward-looking,” says Bosher. Not overstating the musicality nor telling the story plainly, the songs are conceptually deep and artistically broad. “We were looking for meaningful moments: richness of tone, nuanced performance, curious lyrics,” Kahi reflects. Indeed the laconic run-times are no less elaborate in traversing post-metal tropes and thematic landscapes.

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