‘Dawn of the Iron Shadow’ by One of Nine
‘Dawn of the Iron Shadow’ by One of Nine
Black metal and J.R.R. Tolkien have long been kindred spirits, sharing a penchant for dark fantasy and epic scope. Dawn of the Iron Shadow, the sophomore release from One of Nine, rides out from the fires of Mordor with a clear mission: to channel the colder and more cosmic aspects of Tolkien’s legendarium through black metal. The band’s very name is a Nazgûl reference, and this album leans into Middle-earth’s darker corners. The result is a palpably passionate record.
One of Nine strikes an impressive balance between ferocity and atmosphere. From the moment the opener, “Parley at the Gates,” begins, we are transported into the world of the Nine, with tremolo-picked melodies cascading over pummeling blast beats, as cinematic dungeon-synth textures weave through the soundscape. This intro sets the precedent with booming, solemn narration, as the Mouth of Sauron beckons the Fellowship to surrender, over ominous drums. When “Age of Chains” charges in, the album’s full force is unleashed. The track gallops out of the gate with razor-sharp riffs and frenetic drums, then gives way to passages of haunting, almost medieval beauty, carried by synth and choir. Particularly, the more groovy church bell breakdowns are amazing.
The raw aggression of classic black metal entwined with harp-like keys and flutelike flourishes never feels cheesy on the album. In fact, One of Nine shows remarkable restraint and taste in their keyboard usage. It effortlessly melds into the rest of the sonic landscape. The production is clear and powerful, so every tremolo riff, thunderous drum fill, and ethereal choir is audible without sacrificing an ounce of grit. The overall soundscape is filled with events and grandeur. There’s a mythic medieval vibe similar to other modern dungeon-synth-infused black metal acts, such as Stormkeep.
Yet for all its wintry darkness, Dawn of the Iron Shadow maintains an uplifting undercurrent. There is an almost triumphant spirit running beneath the icy riffs. Lyrically and thematically, Dawn of the Iron Shadow delves deep into Tolkien’s lore, capturing a cosmic, fate-driven aspect of his work. Admittedly, I am nowhere near the level of Tolkien knowledge that One of Nine clearly has, so there’s some extra research I tried to do for this review to grasp what the album explores. My apologies if I misinterpret or misunderstand anything in the Tolkien lexicon.
Rather than focusing on battles or surface-level evil vs. good, One of Nine explores the tragic myths of the First Age and beyond. There are cursed bloodlines and desperate valour against impossible odds. The shadow of evil’s intent weighs heavily on heroic hearts here. Nowhere is this more evident than on “Dreadful Leap,” a standout track that recounts the doom of Túrin Turambar’s sister Niënor. Over soaring, major-key tremolo melodies, guest vocalist Hulder lends a female voice as the “Tear Maiden,” portraying Niënor’s final moments. The lyrics paint the scene vividly: “Under a dreadful sky of pale moonlight, in forests of Brethil the Gold Worm let out a cry.” Niënor, entranced by a dragon spell, walks in despair towards her death.
Throughout the album, classical Tolkien lines and imagery are everywhere. The mid-album centrepiece “Behold the Shadow of My Thoughts” builds from eerie ambient passages into a storm of melodic black metal, and features a spoken passage of Morgoth’s curse upon Húrin – “Upon all whom you love my thought shall weigh as a cloud.” This moment lands as one of the record’s emotional peaks, the dungeon-synth choirs and rumbling drums conjuring ancient towers and doom-laden skies. It’s a fine example of One of Nine’s talent for melding narrative and music. Similarly, “Bauglir,” named for Morgoth Bauglir the Tyrant, serves as a brief spoken-word interlude in the album’s second half.
By the time we reach “Quest of the Silmaril,” the band is in full storyteller mode: this track flexes their compositional muscle, weaving together all their elements. Majestic tremolo-picked leads and meteoric keyboard lines duel and dance, marching drums explode into blasts, and even harp-like synths and flute motifs adorn the arrangement. Despite all the layered orchestration, the song never loses sight of the primal metal heart at its core.
By the time “Death Wing Black Flame” closes the album, One of Nine saves their most expansive vision for last. It begins with a thunderclap and incantation, then erupts into blackened chaos – tremolo riffs, synths, and tribal drums interlock. Rousing group chants echo like a battlefield choir, adding a heroic feel. In the final moments, it ends not in silence but with a victorious, foreboding melody. There is a sense of hope mixed with shadows. It’s a fitting conclusion to a record journeying through Middle-earth’s darker corners.
Dawn of the Iron Shadow presents a vision of black metal that is spiritually uplifting rather than nihilistic. While many bands in this genre tend to lean towards misanthropy, One of Nine embraces a sense of mythic grandeur and emotional catharsis. Even the album’s most sorrowful, tremolo-picked melodies carry a spark of hope and heroism. Longtime fans of epic and medieval black metal will find much to appreciate here. Contemporaries such as Stormkeep and the medieval-tinged Obsequiae come to mind with their blend of black metal ferocity and elegance.
One of Nine has successfully carved out a unique identity in the black metal niche, expertly operating within the established parameters of the style while still making their sound feel fresh and distinctly their own. For listeners who yearn for powerful tremolo riffs, grand narratives, and an immersive atmosphere that vividly evokes the battles and sorrows of Middle-earth, One of Nine comes highly recommended. Ultimately, they have not just sung about darkness; they have also managed to uncover light within it, creating a compelling black metal journey of sorrow and triumph that stands proudly in the epic halls of Middle-earth metal.
