Tomorrow, March 25, Philadelphia heavy rockers New Dawn Fades release their debut full-length, Lores. It’s been three years since the band made its debut with the 2023 EP, Forever (review here), and a few things have changed in that time. Most crucially, they’re a band now. Guitarist/vocalist George “GFA” Chamberlin recorded Forever as a solo-project, whereas the tidy eight songs/38 minutes of Lores see the band realized as a four-piece with Corey Pettingill (Blackhand, ex-Wasted Theory) also on guitar, Algar (also Green Meteor) and drummer Steve Roche (Saetia, Off Minor; he also mixed the album) [editor’s note: I spent five earth minutes tracking down everyone’s other bands before seeing them listed in the PR wire info below, so I’m leaving it. No shit, I Googled Algar. I put in the work.] assembled for the the cause of straight-ahead, semi-Southern-style heavy riffs delivered with classic ’90s-style push.

Pepper Keenan‘s work in Corrosion of Conformity and to a slightly lesser extent Down remains a defining influence. As “Villains Come to Light” gets the proceedings underway with due charge and impact-of-chug, the album speaks to ’90s metal in a riff that feels extrapolated from Megadeth‘s “Symphony of Destruction,” opening to more of a rolling chorus, but telling in terms of the context of where New Dawn Fades are coming from. Chamberlin pushes his voice and his voice holds up without sounding like a hey-whoa-momma dudely put-on, and as “Meet Me at Sundown” unfolds its slower intro, the groove feels like it’s on lock because it is. Start-stop chugs, chug-chug, cha-chug, make way for the chorus and a later ripper solo, while a redux of “True Till Death” — one of two cuts on the album that came from the EP — results in one of New Dawn Fades‘ catchiest moments and a declaration of purpose that feels like it’s celebrating the heavy underground from whence it comes (which has been supportive of the band since they wre a concept) as much as its own allegiance to it. One is wary of authenticity, and I won’t claim to know what ‘truth’ is, period, but the song’s a rocker and you get the point.

Interestingly, “True Till Death” and the other carryover track, side B’s “This Night” (shortened from “This Night Has Closed My Eyes”) are the two longest pieces on Lores. Not by a ton, but one wonders if maybe that speaks to a tightening of the songwriting process over the last few years, or some change in process manifest in light of there presumably being three other people in the room when the songs were coming together. It’s not a huge difference — seconds, not minutes — but the only other song over five minutes long is closer “New Evil,” which basks in a nodding largesse with a slowdown that feels very intentionally placed, if not intentionally written, for the end of the record. That’s not to say at the side-A-capping “Souls” doesn’t have its own plus-sized tonality to show off, which it most certainly does, as well as an edge of feedback to add noise to the outreach. It boogies until slamming into its own wall of sound in a way that feels physically cathartic, prefacing “New Evil,” while the subsequent “Dead Vultures” mirrors “Villains Come to Light” at the start with a kick of energy and catchy, tight execution. Consideration has obviously been given to an overarching flow and structure to the album, much as to each of the songs that make it up. They knew what they were doing on the EP, so that’s not a surprise, necessarily, but still admirable, particularly on a first long-player.

“Dead Vultures” and the Downier “Leave My Loneliness Unbroken” are, in contrast, the two shortest pieces, on Lores, and as effectively as they hit back to back at the start of side B, it’s that much easier to hear growth in New Dawn Fades‘ sound since the EP, but there’s so much going on between building the lineup etc. that it’s hard to say definitively the band will go in one direction or another, which, honestly, I likely wouldn’t try to anyway. Still, for an act on such solid footing stylistically and who so clearly have that early-to-mid-1990s era of heavy music so ingrained, the songs on Lores seem to herald a revelry that’s not retro but that knows where it’s coming from and where it’s headed. Given the strength of craft throughout, the listener is all the more inclined to trust and follow along, and for establishing the band thusly in the mind of its audience, it’s hard to see the mission of Lores as anything but successful.

New Dawn Fades hails from Philadelphia, bringing a thick blend of doom, grunge, and heavy psych to the table. The lineup features veterans of the scene including vocalist and guitarist GFA (Ritual Earth), guitarist Corey Pettingill (Blackhand), bassist Algar (Green Meteor), and drummer Steve Roche (Saetia). Drawing on the aggressive sounds of bands like Soundgarden, Down, and High On Fire, they mix crushing volume with melodic hooks.

"Lores" is a dirty, loud, and aggressive album that sounds exactly like a dark basement in Philadelphia should sound. The guitars are tuned low and the distortion is thick enough to chew on. The production captures the raw energy of the band without making it sound like a demo tape. The riffs are big and simple, driving the songs forward with a primitive stomp that gets the head nodding immediately.

The songs on this album rely heavily on the interplay between GFA and Corey Pettingill. They trade riffs that sound like chainsaws cutting through metal. Tracks like "Villains Come To Light" and "True Till Death" show that these guys understand how to write a hook without sacrificing heaviness. The vocals are gritty and emotional, fitting the music perfectly. The rhythm section is locked in, with Algar’s bass providing a low-end rumble that shakes the floorboards. Steve Roche’s drumming is particularly interesting, adding a frantic, nervous energy that keeps the slower doom parts from dragging.

There is a straightforward honesty to "Lores" that is refreshing. New Dawn Fades isn't trying to trick you with complex time signatures or overproduced nonsense. They plug in, turn up the volume, and play until their fingers bleed. "Souls" and "Dead Vultures" keep the momentum going with sludge-filled grooves that feel heavy and dangerous. It is rock and roll stripped down to its ugly, beautiful essentials.

This album is a strong release for anyone who likes their music slow, low, and loud. It has a few repetitive moments, but the sheer power of the riffs makes up for it. It is a good, solid listen that delivers the goods without asking for permission. If you are into the heavy side of grunge or the catchier side of doom, "Lores" is worth your time.

On any given night in Philly, the walls start to shake before you even see the band. This hard-hitting quartet storms the stage like they’ve got something to prove, pouring out a thick brew of stoner grit, bluesy muscle, grunge snarl, and swirling psych haze. The riffs land heavy and satisfying, the grooves roll in deep, and the hooks stick like your favorite dive-bar jukebox anthem. You might hear echoes from some of your favorite bands, but the fire is all their own. And it’s big! The entire Lores album barrels from start to finish, tight, thunderous and leaving you begging for more! Leave My Loneliness Unbroken is therefore the perfect second calling card for all that New Dawn Fades energy, for it slows it all a bit down, instills a touch of doom and scours through their grunge roots even more. Showing you that the band can do it all! New Dawn Fades is loud, defiant, and bleeding honesty! Better not leave this single alone! Break it down like New Dawn Fades does!