In the reception of a new work of art (rather than a commercial product), there are two main ways of going about evaluating its worth. The first is to assess its qualities on their own and their overall result as a unitary agent. The second is to consider its relative worth in terms of the time and place when it was produced as well as taking a utilitarian view point that can give a “function” to it. The first of these two is the hardest as it requires technical and philosophical insights working holistically, the background for which is not obtained through casual acquaintance of history or plain repetition of “classics” of the genre. It requires years of internalization of both composition methods and a constant meditation on the powers behind music as pertaining to the human mind. The latter is naturally the common choice by virtue of its extreme relativism, which makes almost any interpretation, whether negative or positive, admissible and excusable.
Sinister Ceremonies came out last year, apparently made some waves and popped up in “Best of the year” lists. While it did not make it to DMU’s own list, this may be more due to a lack of diligence on part of the staff than anything else. But given the limited manpower the site wields and the overwhelming number of records released per year, it is not surprising that even an outstanding record flies by unnoticed, let alone a commendable but unimpressive and ultimately irrelevant effort like Domains’. The opinion of the average metal journalist/critic/blogue means little after all, and their majority support of anything is an indicator of lowest common denominator appeal (fuck democracy).
Taking the simple-minded relativist stance, Sinister Ceremonies comes out with a full checklist as it is both balanced, intelligible, catchy, easy to listen to, and to some, perhaps even “brutal” and “dark”. Objectively, to be fair, the songwriting here is actually sober and very self-conscious. The constructions and composition methodology is clear textbook — but perhaps too clear. Its unimaginative and extremely conservative adherence to proven techniques at all levels from riff execution to build-ups and long-range developments are a sure score with conservative underground listeners with a mid-range attention span but fall short of a complete work. What this means is that while the album covers the basics of metal songwriting exemplarily, the full art of composition — its power to attribute meaning and direction to passages weaving into a story — is something that may be entirely foreign to the band.
Finally, the minor achievement that constitutes Domains’ “solid” composition is only a highlight because of the depressive state of affairs of the modern metal landscape, when mediocrity and capricious nonsense made by non-musicians (“professional” or not) reign supreme. In and of itself, Domains Sinister Ceremonies will garner passing and only temporary attention by some conservative types, but its shallow waters will prove an uneventful disappointment for the more serious listener in search of a dungeon to brave.