“Mother of Dawn” by Inception Of Eternity is the kind of track that doesn’t so much start as it arrives, like it’s been looming just offstage for several thousand years waiting for the right moment to make things everyone’s problem. Within seconds, you’re hit with this wall of orchestration that feels less like a band playing and more like someone accidentally woke up an ancient cathedral and handed it a distortion pedal.
And then the vocals come in; commanding, eerie, and just a little bit threatening in a way that suggests nature itself is filing a formal complaint. It’s not subtle, but it’s also not trying to be. This is a song that fully commits to the bit: dark, dramatic, and completely uninterested in whether you think it’s “a bit much.” It is a bit much. That’s the point.
What’s interesting here is that if you’ve followed Inception of Eternity at all, you might be expecting a genre roulette situation with a bit of metalcore here and there only for maybe a left turn into something unexpected. Instead, “Mother of Dawn” plants its flag very firmly in symphonic metal territory and just stays there. No detours, no apologies. It’s almost suspiciously focused, like the band collectively decided to commit to symphonic metal as much as possible.
And it works. The cinematic elements don’t feel like decoration; they’re doing real structural work, building this sense of scale that makes the whole track feel bigger than it probably has any right to be.
At the same time, there’s a clear sense that this isn’t the full picture. If anything, it feels like a very deliberate flex; proof that the band can lock into a single style and absolutely dominate it when they feel like it. Which, considering their usual tendency to blend gothic metal, metalcore, techno and classic rock into one cohesive if not slightly chaotic identity is kind of impressive.
After a four-year gap and a lineup change, including a new frontwoman, “Mother of Dawn” by Inception Of Eternity doesn’t read like a cautious reintroduction. It’s more like kicking the door open and immediately summoning a storm. If this is a preview of the 2026 album, then at the very least, it’s making one thing clear: subtlety is not currently on the agenda and honestly, that might be for the best.
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About the Author
A tenured media critic known working as a ghost writer, freelance critic for various publications around the world, the former lead writer of review blogspace Atop The Treehouse and content creator for Manila Bulletin.
