25 Feb 2020
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Domes - Single Review: The Futurist

09 Jan 2020 // A review by Kerry Monaghan

The new single from Domes is here.

Another slab of brilliance that reaches new heights for the start of 2020.

The Futurist feels like a natural progression from previous single, Malady, still full of melody but with more ferocious intensity. There is a lot to like here and again, it is executed flawlessly.

Vocalist/guitarist Matthew Bosher once again flexes his vocal prowess from soft to intense that is matched with a similar rhythm and tone in all the right places from bassist Brendon Kahi and drummer Dan Bosher, respectively. With the rumbling bass riffs and relentless drumming, they’ve hit the nail on the head.

Coming in at only two minutes and forty five seconds in total, The Futurist gets the job done swiftly leaving no stone unturned. With another four tracks still to come in 2020, it looks like this going to be a big year for Domes, and I can't wait.

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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