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“It was so amazing we ended up redoing the whole record! Once did one, we just looked at each other and knew we needed to do the whole damn record this way! By day four Leah was pretty beat up, as I’m pretty intense, but we ended it on a killer note…totally meant to be!” Lyle often handles the choirs with his keyboards, but “then I was thinking of Leah and her angelic voice, so I invited her to give it go on some choir parts,” Peterson says. “Maybe I was a little too picky, but at the end of the day I’m glad we didn’t settle for things that I wasn’t feeling right about.” With up to six-part choir harmonies and chants, the vocals were no easy task. “The biggest obstacle was getting the vocal patterns and lyrics right telling the story of the music,” says Peterson. Peterson produced it, with an assist from engineer/mixer Juan Urteaga. Recorded at Trident Studios near Peterson’s Northern California home,Dominiontook about four years to complete, between Testament tours and albums. In fact, the booklet, drawn by Christian Sloan Hall, is graphic novel-type art that’s spawned a character for a soon-to-be released black metal comic called “The Burner.”) The haunting album and back cover art was realized by Berlin-based artist Eliran Kantor, who has done illustrations for Testament, Sigh, Satan & Flesh God Apocalypse. Peterson’s storytelling-and the striking design of the CD cover and booklet that illustrates the songs–depicts the intricacies of Dominion’s historical and fantastical musical tales. Dominion’s stellar, complex, brutally symphonic metal is triumphant in its execution, bringing together layers of meaning and musicality into an unholy whole. Creating the new opus was Peterson on vocals, guitar and bass Livingston on orchestrated keys and pianos Alex Bent on drums and Leah on female vocals and choirs.
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Dragonlord’s journey began with 2001’s acclaimedRapture, then 2005’s Black Wings of Destiny, and now, at last,Dominion. Peterson’s a creative lyricist, larger-than-life sagas arising from equally epic musicality. “It’s still a dark mystical fantasy place to go, but we feel liberated and beholden only to our own expectations of musical and listening enjoyment.” If the road to Dominionwas long, it’s only because Peterson strives for perfection-plus, he tours and records constantly with legendary Bay Area thrashers Testament, the band he formed in 1983-and he remains its only constant member. Peterson formed Dragonlord in 2000 as its singer and guitarist (with keyboardist Lyle Livingston and now-ex-members Steve DiGiorgio of Testament and Jon Allen of Sadus), and notes that the growth from Dragonlord’s first two records to the cinematic triumph and brutal blast-beats of Dominionhas been immense.
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“Almost like a switch-up story of if Beatrice from “Dante’s Inferno” didfall for the Prince of Darkness!” Then there’s the surprise of the slower, Black Sabbath-influenced duet with “my amazing Celtic vocalist friend and collaborator Leah,” Peterson explains about “Love of the Damned,” an abstract piece that still explores a love story– with the devil, of course.
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“The Northlanders” is about brutal 11th century Northmen, while “The Discord of Melkor” will thrill LOTR fans with an untold tale– “my take on Tolkien’s “Silmarillion,” the first age of the “Lord of the Rings” saga genesis,” says Peterson. If Dragonlord’s long-awaited third album explores themes of “darkness owning and influencing these times we now live in, and things that have come to pass,” it also delves into other eras, real and imagined. Things escalate: The pummeling begins with the title track, “Dominion,” welcoming all who dare enter into an “eternity of misfortune.” Then it’s into “Ominous Premonition,” which has been likened to like “the soundtrack to the gates of hell.” You’re helplessly possessed by Dragonlord’s beautiful grasp of darkness, as Dominion’s eight songs create a deep and heady musical journey rife with meaning and menace, from the blackest-and loudest–recesses of singer/guitarist/bassist Eric Peterson’s mind. You’ve descended into the dark world of Dragonlord and there’s no turning back. A backwards guitar churns out a most commanding riff-it takes hold, phasing back and forth as an unholy chorus builds, leading you down the left-hand path. As aural the gates to Dominioncreak open on “Entrance,” a cold and rainy night is upon you.