Dawnbringer - Into the Lair of the Sun God

July 5, 2012

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Can we take a moment to talk about how great this year’s been for heavy metal of the prefix-less variety? Between Christian Mistress’ Possession and Pharaoh’s Bury the Light, those who worship at the altar of tradness should be thrilled with how this year’s turned out so far. And now Dawnbringer swoops in and delivers the best record of the bunch. Pharaoh and Dawnbringer share a common entity in one Chris Black, a criminally overlooked metal luminary if there ever was one. In Pharaoh, Black simply hammers the skins (and by simply, we mean with impunity), but Dawnbringer is his baby. Dude plays everything except guitars on the band’s albums, and he hauls in some damn fine six-string talent: Pharaoh shredder Matt Johnsen and Scott Hoffman of High Spirits, another Black project. This arrangement worked spectacularly on 2010 breakout Nucleus, which saw Black and Co. embracing the ’80s with open tattooed arms. It was the kind of non-ironic era worship that made any hesher proud to call this genre their own.

Into the Lair of the Sun God continues Black’s exploration of traditional sounds, digging even deeper into metal’s history to unearth that triumphant standby of greatness long passed: the concept album. You see, Lair is a nine-part story told in first person by a man who sets out to kill the Sun. I know, how metal is that? It’s Black’s commitment to the linear narration that sells the thing. Too many bands–cough, Mastodon, cough–claim a unifying theme and then casually toss in a track or two that has nothing to do with the story. Here, Black is the one to murder the Sun. Why, we don’t know, but with each Roman-numeraled track, he recounts his journey from the beach to the sea to the steps leading to the halls of the heavens. He encounters lost loves, pious disciples and, yes, the Sun god Himself. For fear of ruining the ending, let’s just leave the story at that and commend Black on his excellent storytelling.

If you don’t know what to expect from Lair musically, I advise you to head back and check out Nucleus for some frame of reference for the awesomeness you’re about to encounter here. If you’re already familiar with that smokin’ slab, get ready for more of the same sexy leads, catchy riffs and crisp production courtesy of Windy City master Sanford Parker. As killer as Nucleus was, its tracks felt stitched together, making for clunky transitions and occasionally aimless sequencing. Lair is seamless because it needs to be. Every track feels like it’s in just the right place. The crossover thrash of “II” hammers straight into “III”‘s classic rock grooves and fist-clenching chorus. “IV” is the fastest track here, its galloping Maiden chug complemented by a molasses thick bassline and sing-along chorus that preps us for the wildest curveball in the lot: the lighter-hoisting power ballad “V”. Johnsen siphons a few wailing solos from his axe between Black’s melodrama. “‘Cause I know you remember how it feels to be free,” laments Black in his pack-a-day croon, “but for now and forever/in darkness you’ll be.” He set out on his journey alone and his love won’t even see him off. But “VI”‘s plodding riffs and filthy leads should keep him company, and if that’s not enough, the vintage Yes synth solo that closes out the track should seal the deal. I could listen to this all day. Hell, I have listened to this all day. If you enjoy heavy metal–like, at all–you will do the same.

— Greg Majewski

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HEAR INTO THE LAIR OF THE SUN GOD

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