Dimmu Borgir "Inspiratio Profanus" (2023)

 

Far beyond the prime of their active years as a band, Dimmu Borgir blow the dust of old covers alongside new offerings. Its a release of minimal commitment, something to give fans in the meantime between Eonian and whatever comes next. Kicking off with Venom's classic Black Metal, an aging Shagrath offers mid ground between his own vocal extremities and the throaty shouts of that early 80s evil cheesiness.

Its such an obvious choice that's been done to death by many Black Metal bands over the years. Dimmu add little to the conversation. The vicious, blood soaked Satan My Master, from Death Cult Armageddon, still holds its cutthroat aggression and howling menace. The contrast highlights a chasm between past and present. With the rest of the album intermingling old a new, its a similar story with its two new covers.

Dead Men Don't Rape looses much of the originals stark and confronting nature. A harsh Industrial unsettling atmosphere descending through its unforgiving whispered lyrics, Dimmu's atmospheric cushion undoes that. An all to welcoming track within the Extreme Metal context. Its not all bad tho, between some cracking covers of old, Deep Purple's Perfect Strangers gets a fine treatment as the band twist its anthemic march with a darker stride that retains the power of the originals riffs and organs.

Rating: 3/10

Dimmu Borgir "Dust Of Cold Memories" (2022)

 

With a lyric plucked from Absolute Sole Right as its title, Dust Of Cold Memories accompanies the recent Remixed & Remastered celebration of Puritanical Euphoric Misanthopia. Comprised of two halves, The Kolbotn Tapes and Prepod Session, these aged, degraded demos offer a curious insight into the albums creative process. The five Preprod songs are most intriguing. Recorded before all elements had converged, they play with many missing pieces and placeholders around its core musical ideas.

One of the PEM's finest crafts, Blessings Upon The Throne Of Tyranny, stands apart in its nakedness, the arsenal of razor grinding riffs completely absent. Hearing it at this stage illuminates their creative process. We see etchings of inspiration converge not unlike how you might of expected. With such a riveting rhythm guitar performance, I would of strongly guessed it was central to its formation but apparently not so. The other tracks aren't as insightful. One can hear absent contributions and entirely dropped ones too but mostly these songs arrived at this stage relatively fleshed out.

Of the Koltbotn Tapes, Fear & Wonder stands rather distant from its final incarnation with a persistent militant snare and bare piano chords. The other five arrive in varying fidelity. Loud clicking drums, occasional shouts and voices are heard, along with roomy rehearsal room ambiences being a common trait. With the songs fully formed out this point, they simply play like demos prepared before entering the studio.

Rating: 4/10

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Dimmu Borgir "Death Cult Armageddon" (2003)

 

A conclusion for now, the last of the great Dimmu Borgir records. Death Cult Armaggedon was the first release I lapped up as a fully fledged fan. Its nostalgia is immense for me. Having convinced my circle of sixth form friends to buy it on release, it became a soundtrack to our friendship exploring the world of extreme music. The reason I say Its the last of their greats is because DCA ventures into the lavish orchestral avenue, ditching traditional key tones. Both Galder and Silenoz's guitar styles undergo an evolution away from constant power chords too. Although these songs are a far cry from their classic sound, this stride is phenomenal and everything they tried is golden. I can't say the same for the following In Sorte Diablo.

Song after song is utterly embellished by the orchestral instruments. Dimmu's extreme metal aesthetic would sound lost without it. The union is wonderful, bringing a rich sense of cinema to the drive of Barker's batter drums and aggressive guitar grooves which stomp and grind from end to end. A couple songs, namely Lepers Among Us and Cataclysm Children, ride the storms without the Prague Philharmonic Orchestra behind them. Evenly spaced, they break up the albums flow, injecting more devilish brutality as Dimmu get into some of their hardest, crunchiest songs to date.

The album excels on all fronts but as Dimmu do, their song structures always lead to interesting places. Plunges of darkness and other abstract arrangements give each song a real trajectory to venture upon after the verse and chorus have been established. Each song has a defining component, a special musical passage, making it hard to skip a beat. Perhaps more so than any record before it, they get a little closer to a whole experience. DCA is one album I love to listen to all the way through.

Everyone is pretty much on their best game. Shagrath delivers his demonic howls as usual with some adventurous manipulations too, possibly with the aid of pedals. It contributes to the albums lean and mean texture, occasionally with an Industrial brush as mechanical noises and swells of ambiguity feature sporadically. Its a harsh, rapid storm of malevolent metallic music that evolves across its ambitious arc. First with Blood Hunger Doctrine, DCA open up. A slower tempo pounds out a thumping groove from the rhythm section and offers respite on journey to a fantastical conclusion.

ICS Vortex unleashes his beautiful heathen voice on the albums second Norwegian track. The chemistry with the pianos is stunning. I love how this band can fit illustrious melodies between rapid blast beat assaults. Eradication Instincts Defined is where the concluding magic begins. Its orchestra into so memorable and vivid. One can picture the devastation war brings over the natural beauty of mother earth, as if flying over the fields of war. Shagrath crashes the song into a fury with a length scream that sets this epic on its way. Its lengthy venture leads us into the sirens of war and devastation as the albums longest number unfolds after it.

Unorthodox Manifest's audio scenery of war depicted against the cry's of hail Satan sets off a chilling saga. The band pivot from what seems like a regular song into some of its harshest blasts, leading into a roaring epic, flush with melodies and amazing guitar solos that interchange and play off to the highest magnitude. Its such a surge of energy, that seems like only a fade out was appropriate, unable to land the beast they unleashed with a single strike. Its one of the bands more remarkable songs.

Although I often consider the three prior albums to be superior, writing my thoughts out on DCA makes me reconsider. This was a group of musicians with far more maturity and direction then they had armed themselves with before. Galder and Barker brought much to the band, transitioning them again to the frontier of Extreme Metal. Although Dimmu are considered Black Metal, its far from the tradition. They are their own powerhouse of evil and on this occasion manifested a vision to perfection.

Rating: 10/10

Dimmu Borgir "World Misanthropy" (2002)

 

I just couldn't help myself. There is yet a couple more Dimmu Borgir records I desire to write about. World Misanthropy is a six track bonus disc, part of a DVD released the year after Puritanical Euphoric Misanthropia. I actually have the vinyl edition, a nice rarity! As far as additional music goes, Dimmu have stated they have pretty much released every song recorded and this EP only offers one additional song, as well as a re-recording of Devil's Path and four solid live performances from Wacken 2001.

Until writing now, I had never pondered where the song came from. Masses For The New Messiah sounds very much from the Spiritual Black Dimensions era. Its lack of an Astennu solo hints it may have been written after is swift departure. Its lead guitar melodies ring in Silenoz's ETD tone. If it was a left over, the weaker intro my explain why. The first minute or so pushes big cheesy synth hooks that get recycled a couple of times. Everything outside this chugging grind of bold aggression is wonderful though. A lavish exploration of darkly synth manifesting through a variety of passages. It leads to a gratifying conclusion of serine uplift and sparkling keys glistening over top of drawn out power chords. It does plunge back into the shadows of aggression right at the end, feeling as if a climax for the song happened to eluded the band.

The re-recording "Devil's Path 2000" has a welcome glossy acoustic guitar intro stitched in the front. As a song restoring the power of their old sound, its additional infusion of keys over its brimming distortion guitars gives the song a revitalized glory. The guitar solo is completely rewritten too, going for a scaling Power Metal vibe. I think I prefer the original solo more. The rest of the song could be "better" but honestly they feel like different interpretations. The original, a darker meaner beast and this newer one gives more weight to the respite and uplift from its evil dimension.

The following four live songs are fantastic. Unlike Godless Savage Garden, the audio quality is a lot better. Only the guitars seem a little quite and guarded. A few vocal switches, baseline changes and synth arrangements give a keen fan something to latch onto for the live performance too. The band execute the songs wonderfully. Between tracks Shagrath gives me a mighty laugh, declaring "Darkness has its attraction, which everyone can feel! Only hypocrites deny!". Hilarious, love this band.

Rating: 6/10

Dimmu Borgir "Godless Savage Garden" (1998)

In the imaginative realms of "what could of been", Godless Savage Garden always haunts me with its utterly majestic, fantastical offerings. One can only dream of what a full length may have sounded like. Wedged between Enthrone Darkness Triumphant and Spiritual Black Dimensions, the two original songs of this mini-album are remarkable. Both in tone and composure, its slower pacing, drenched in esoteric symphony, the dynamic and spiritually memorizing guitar solos of Astennu. It all marks a band advancing boldly into new territory. Although recorded in the ETD sessions, to my ear they lean towards my all time favorite record, SBD.

Chaos Without Prophecy is an utter delight, its slow beefy power chords and altering drum intensities let the synths set a darkly atmosphere. Shagrath storms in with phenomenal screams on the back of bouncy guitar riffs, resonating with a glorious bell chime. In its lengthy seven minute duration, the back end of the track embarks into a slow brooding drudgery of mysterious intent. Its haunting, creepy and rife with witchery. Moonchild Domain has a comparatively upbeat tone, more of a colorful voyage through dark arts and cryptic magics as the ride is punctuated by glorious pianos and bursts of lead guitar. The drums its housed in batter hard at times with big pedal grooves and lots of complimenting intensities. This all leads to a gratifying guitar solo, blazed by Astennu and his ponderous nightly character.

The other tracks consist of two fine re-recordings from For All Tid. They do an inspired repurposing of the bands once glum and odd atmosphere to this mighty powerhouse sound of rocking Metal and satanic darkness. A cover of Metal Heart by Accept plays a fantastic tribute to their influences. Although the song is not their own, parts of it feel very fitting for Dimmu. Beyond lies live recordings. Not in the greatest fidelity, they are a fun insight to the live experience but sadly feel like filler. Perhaps plundered around obligations to release a record.

As described, Godless Savage Garden brings two of Dimmu's finest songs at the crossroads between records. The particular spirit they share is defined enough to create a glimpse of something special that could of taken place. Maybe in another universe. Who knows. Anyways, I think that about raps up my tangent back into the origins of the band for now. Someday I will get around to the other three or so records I'm yet to cover on this blog. I look forward to it!

Rating: 8/10

Dimmu Borgir "Devil's Path" (1996)

 

If you are unaware of this little gem, then oh boy are you in for a treat. Recorded and released between Stormblast and Enthrone Darkness Triumphant, it serves as an insight into the radical transition Dimmu Borgir undertook in that period. Its opener Master Of Disharmony made it onto EDT and the title track would be later re-recorded in their modernized aesthetic. Also included are two versions of Nocturnal Fear, a Celtic Frost cover that sends a nod to one of their key influences. The songs pivot a minute in from a pacey evil assault to a stomping heavy metal groove feels akin to the new style of songwriting Dimmu showcased with this release of this four track EP.

Before the metallic song kicks in, Master Of Disharmony opens up with a short and entrancing, ritualistic instrumental. Foreshadowing conspiracy and collusion with the devil, its opening line, now using English lyrics, commands "sons of Satan, gather for attack!". Tjodalv's competency as a drummer is drastically improved as his rattling blast beats unleash a new darkness for the band. The synth tones bring a sinister edge and the fast guitar blister in grimace under that loose snare rattle. Shagrath too seems far more intentional, embodying the persona of this soul shrouded in darkness, seeking possession. Understand the words goes lengths to embellishing the theme.

In this new direction Dimmu counterbalance their satanic persona with bursts of big Heavy Metal groove, theme enriching malevolent synths and flushes of melody through guitar leads and lively, animated solos. Devil's Path also works within this new song writing style but whats special here is the albums production. Rough and raw around the edges, its lower fidelity aesthetic doesn't exactly hold the music back but showcases the transition out of one era and into another. Its ninety percent musical and makes me dream of hearing ETD in this style. This is nothing like the Stormblast MMV re-recording as their musical maturity had truly turned a leaf. Ultimately you'd have to conclude the modernization of their aesthetic was a genius call, however you know the songs would hold up well in a different context thanks to Devil's Path.

Rating: 6/10

Dimmu Borgir "For All Tid" (1995)

Released ten months on from Inn I Evighetens Morke, my Norwegian darlings Dimmu Borgir debut with a peculiar mix of ideas on their full length album. tIn my youth For All Tid charmed me with all its dingy oddities. Many years later, that magic is still present but more so does the amateurish performances and dire production fidelity. It once seemed less like an intentional mystique but now, more like a band with growing pains who managed to land a record deal as Symphonic Black Metal emerges alongside the explosion of attention the scene received over its controversies of the time.

That's not to dismiss the music, Its littered with symphonic magic between some glaring flaws. In my youth I never dissected its offering, just enjoying the odd glum atmosphere and flushes of esoteric melody loosely held together with spurts of aggression. Now I hear a more mixed bag of ideas. Less of a cohesive vision as Dimmu would execute masterfully with every following album from Stormblast and on.

Perhaps it is the opening Det Nye Riket that emphasizes some disparity. Its Korg keyboard driven intro akin to the now established Dungeon Synth. Mostly comprising of power chord and tremelo riffing with varying degrees of symphonic involvement, a couple songs stand apart for feeling off pace with the more common mood. Over Bleknede Blaaner Til Dommedag deploys awful clean vocals. Out of tune, stretched and folkish, me and my friends would always chuckle whenever it burst out. A minute or so later Silenoz howls a ghastly scream out of nowhere. Its loud presence in the mix makes it all seem so haphazard. Even at its worst the songs still have charm.

The two minute Stein is an oddity of snarling darkness countermanded by a fantasy flute melody. Its a glaring reminder that much of the extremity of the band seems more quirky than dark and evil. The following and exceptional Glittertind instrumental, housed by another garish scream erupting loudly out of nowhere, is an upbeat thrust of melody. Its warm mood and fond guitar melodies so opposing to the blast beats that drive it along. Again the band have such a peculiar vision of darkness. Perhaps all that has developed over the years in extreme music since has softened its edges.

The final four songs are class. Homing in on a gloomy chills and a rain drenched atmosphere, the composure of power chord riffs, acoustic strummed chords and eerie synths meet on the back of great songwriting as its structures feel directional and gratifying. I can't help but feel some Doom Metal vibes along the way, perhaps its synth tones reminiscent of The Gathering's classic Always...

This revisiting was heard through its original recording. In my youth I had the Nuclear Blast remaster, a service performed just two years later. Oh boy does that make a huge difference! Everything has more punch and grit, the volume disparities less prominent the harsh vocals have their energy inline with the renewed intensity of the guitars. Had I not thought to listen to the very original No Colors release, these thoughts may have been very different. These songs are invigorated by its remastering and it really serves as the better way to experience the songs. Low fidelity doesn't always work in your favor! For anyone else curious, listening to both is an adventure but I'll leave my heavily bias praise based on the legs the remaster gives it to go. Without it, I'd of knocked this "rating" down a peg or two.

Rating: 8/10

Dimmu Borgir "Inn I Evighetens Morke" (1994)

 

I couldn't count the years since I've gone back to the roots of my eternally adored Dimmu Borgir. Before they became a powerhouse of modern Metal drenched in devilish symphony, the Norwegians had a murky start. You could never have predicted their trajectory from this humble origin but their sophomore effort Stormblast would shine bright before the modernization of Enthrone Darkness Triumphant occurred. Inn I Evighetens Morke is a short, three track EP that kicked things off. I can't do much to defend it other than express my deep attachment to its gloomy nature, which sparked my curious adolescent mind as I discovered the world of Black Metal.

The first song is the unique experience. For a band joining a scene of new found extremities, its opening number broods on a slow tempo. A morbid piano sequence kicks things off. Distortion guitars become a distant haze under the the warm bleeding baseline. Esoteric synths arises, glum acoustic chords cry as they are plucked. The song swiftly lulls into a depressive tone of death and suffering. All achieved without blast beats, screams and other tropes, its an interesting conjuring that rides a little charm of the amateurish production as the instruments muddy together.

Its second half ups the metallic intensity. Shagrath's barely competent drumming barrages one with plenty of tom rolls in shuffling beats. Any attempt at a blast beat get drowned out as the production fails but also masks the shoddy performance. Silenoz howls harsh, higher pitched screams upfront while churning through lively power chord riffs. The eerie synths struggle to punctuate and the whole song lacks the majesty to leave anything remarkable in mind other than its mystic, quirky nature.

The final Raabjorn Speiler Draugheimens Skodde shows class, a curious arrangement of synths and power chords with direction and structure that bring it to a "break down" conclusion. Shagraths drumming is miles better, a tighter performance with more interesting grooves. Again without blast beats the band linger in the Black Metal realm through its symphonic spin off and the harshness of Silenoz's vocals. Otherwise it comes offs as dark and dingy oddity. Of course this song stood the test of time, being re-recorded a couple of times for future records. It is blemished in this incarnation which was a very amateurish start but a fun one for a die hard fan.

Rating: 5/10

Dimmu Borgir "Eonian" (2018)

Its been well over a decade since the Norwegian Symphonic Black Metal outfit Dimmu Borgir were in their prime, I would consider 2004's Death Cult Armageddon to be the groups last truly great record. Since then the bands activity has slowing, their records In Sorte Diaboli and Abrahadabra haven't lived up to the former glory. With a worrying eight year gap between albums I welcome anything from my favorite band but reserve any excitement as it would be foolish to expect them to rekindle the old flames. This newest adventure embarks us on a ritualistic journey through ancient astral lore as its tone and track listing would suggest.

This new chapter been a fair listen, an easy, enjoyable record that does little wrong but lacks the intensity and atmosphere to elevate its core ideas to epic proportion. Further exaggerating what they have done before, Eonian is finely tuned with its crisp and gleaming production, polished to a fault. It takes a real hammering of blast beats and guitar trashing to create anything remotely overwhelming. Instead the record often indulges in this sleek sound with eruptions of lush atmospheres that lean on its light, audible guitar licks, comforting symphonics and expansive drums that conjures a sense of scale with its lumbering pace packed with arranged fills.

Either its crutch or a crux the record continually embellishes many of its climatic and powerful passageways with these strong choirs, often effeminate voices soaring with a touch of devilish mischief and between them plenty of choral synths line much of the musics design. Often its fantastic, on a few instances a little soar but most of all its an obvious progression from a trend on Abrahadabra that leaves the guitars playing second fiddle to everything else. Its not something to take issue with, just an observation that they are toned down by these musicians who used to bring so much venom and exhilarating annihilation through their power chord shredding riffs.

Behind the aesthetics and nuances of composition we have some fantastic song writing that tends to stray towards cosmically majestic and uplifting moments as opposed to the hellish plunges into darkness they would so commonly do in the past. Essentially these are seasoned musicians evolving their sound in the opposite direction yet holding onto their "extreme" identity. It results in mixed feelings, an appreciation of the now more expansive music, yet an attachment to how these songs might of once played out decades ago in a more to the point manor. With lingering elements of their old identity holding on it sounds like they aren't quite through a transitional period, however Eonian clearly reaches the other side with quite a few strides on this decent record.

Favorite Tracks: I Am Sovereign, Archaic Correspondence, Rite Of Passage

Rating: 7/10

Dimmu Borgir "Stormblåst MMV" (2005)

Nineteen years after the original record, Dimmu Borgir stepped into the studio to re-record the memorable "Stormblåst", stating it had always been their intention to produce the album with a similar, modernized aesthetic to "Enthrone Darkness Triumphant". The original is its own gem within the bands discography from the low fidelity era where their symphonic side really came to fruition. I remember not being optimistic at the time this was announced and upon its release Ive never cared for it much. Its enjoyable at least, I know these songs inside out but practically everything about the production value dispels the magic I remember so fondly.

Gone is the opening melody composed on strings and pianos, straight into the majestic cosmos we are hurtled and after the opening riff the shift to epic choral choir synths is rather persuasive but probably the records best moment as the following riff feels hollow with the synths dropping out and this is where its problems are first heard. Shagrath's scream despite being meatier and strong doesn't have the same charm. Much the same could be said of all his growling, guttural vocals. They have more oomph but that doesn't magnify anything about the Norwegian words being sung. The clean Norse chants however sound solid in comparison.

The production here is simply to much for the music, its charm was in its strangely soft and thin production which had a lot of magic extruding from instruments that sounded individually narrow and weak. On MMV the opposite is so, the drums are loud, powerful and the base pedals rattle away constantly under many riffs where they never reached such speeds previously. Theres more blast beats, the tom rolls and fills are much more dense and they become quite an intense part of the music. Between them and the loud polished synths the guitars get buried and smothered. The base guitar rumbles low and gone are its higher notes which stepped into the fore front. With all these changes much of the chemistry is dismantled by lacking subtleties, the synths implore rich dense tones in the mix, so loud they take a large focus of attention where once they complimented the other instruments.

The simplistic nature of the music is stretched by this high octane mix. There is so much oomph and energy in the instruments sound that any changes in tone, the coming and going of synth keys, sounds out of balance and disproportionate. This is literally what it is, music written for a vastly different aesthetic. The drumming is especially disappointing, Hellhammer is a legend and I mean no disrespect but his style is to fast and ferocious for this record. Everything is done with double pedals and feels twice as fast, its simply nauseating.

The origin of original track "Sorgens Kammer" means it was dropped for a newly written track "Dell II". This is possibly why the introduction melody for the record was dropped too. With that new track Shagrath and Silenoz also re-recorded a left over "Aumaktslave" which has one riff sounding nothing like what they were writing in that era. Maybe they filled in the gaps on an old demo. These two tracks are the only reason to listen to this record, everything else is vastly inferior to the original.

Favorite Tracks: Sorgens Kammer - Dell II, Aumaktslave

Rating: 4/10

Dimmu Borgir "Stormblåst" (1996)

In 1997 Dimmu Borgir released "Enthrone Darkness Triumphant" a defining record for the band, evolving their identity with a rich wall of sound production and writing music to captivate the more rhythm eccentric styles of metal, producing mosh friendly aggressive riffs and manic break down moments. Its symphonic component was to be praised too, with gorgeous synths deepening the wild and dark atmosphere the band created a vastly more appealing sound, only true in spirit and theme to Black Metal but ditching the low fidelity and anti-music aspects. Before it came this gem of a record which I adore, more so for the years of my youth I listened to it religiously than its actual merit. Twenty or so years later the band would go on to re-recorded it with a similar aesthetic to EDT. Musically though it is very different regardless of what aesthetic its wrapped in.

The original Stormblast shows the band maturing quickly from their flawed but spirited "For All Tid" debut. The songs are rather similar in stature, simplistic power chord progressions from the guitars, tuneful synths with atmospheric tones backing them and narrow rattling drums pattering without a lot of force or intensity. Previously their drummer, Shagrath steps up as the front man playing guitars and performing the vocals with a textural approach, stretching the gutturals and snarling at the listener from a safe distance. They don't have an oomph or immediacy about them, but simply growl and groan with throaty textures over the rest of the music in a why I quite like but could easily see how it would turn others off. Some of the vocals are clean, deep and bellowing with a medieval heathen tone and in Norwegian, something I always adored, it ads mystery and an ancient feel to the record which is mostly more uplifting then it is dark. Most of the songs find a way to shift gears between darker and lighter passageways, often controlled by the synths tone and guitar riffs direction.

The songs themselves are relatively simple affairs with multiple riffs, verses and choruses. As no spectacular fete of song structure they tend to drone at the same intensity for the most part. Each song has its moment of creativity "Antikrist" for example messing around vocal distortions and reverbs in its opening momentum shift. The symphonies mostly exist in the backdrop, adding a soft layer of atmosphere and in a few bright and uplifting occasions pianos come to the fore front and treat us with gracious melodies dancing over steady guitar riffs. For example, the title track "Stormblåst" climaxes at the end, its best riff rocking out over and over with a gorgeous piano flowing a soothing melody over the top of it. The album is opened with a string and key section, an enchanting melody playing over soft, sorrowful strings. "Sorgens Kammer" is the only solo track for keyboardist Stian Aarstad, its a memorable one that it was unfortunately discovered through the internet had been lifted from a computer game without the rest of the bands knowledge. It still fits perfectly into the record.

Picking this record out after a fair few years since my last listen it occurs to me that the production is rather narrow and thin. Each instrument alone is rather underwhelming, the bass guitar isn't very deep, the guitars fuzzy distortion is thin and tan, the drums lack punch, the pedals loose and overall it feels rather narrow. Its amazing how it comes together, the synths fill in a lot of lost space and in its individual inadequacies it finds a charming, spell bounding chemistry as a whole. Its a soft record, despite being Black Metal everything except the vocals don't feel particularly harsh of abrasive and something worthy of note are the base guitar riffs that on every other song or so find a moment to step up with a complimenting melody and given their lack of depth sound pleasant playing higher notes.

 Its a record of atmosphere and indulgence crafted through simplicity, the result an ancient realm of nostalgic wonder helped on by the Norwegian lyrics, something the band would ditch on their next record. This record represents a large portion of my youth and my love for it is bias but trying to take a more objective view whats fascinating to me now is how primitive this record is, you could argue the production is poor and the music not as wild or unchained but through all that the charm is undeniable for me. "Stormblast" is a one off, not a genre defining record or even worthy of mention when discussing Black Metal's history but a brief moment in Dimmu's history that does wonders for me personally.

Favorite Tracks: Broderskapets Ring, Sorgens Kammer, Stormblåst, Antikrist, Vinder Fra En Ensom Grav

Rating: 10/10

Dimmu Borgir "Puritanical Euphoric Misanthropia" (2001)

With a recent revitalization and hunger for the music of my favorite band we come to the third in a string of records, Enthrone Darkness Triumphant, Spiritual Black Dimensions, at the bands creative peak. Playing on the three word album titles, PEM is another unique experience that takes Black Metal to a blistering, hate fueled peak of orchestral symphony and octane instrumentation firing on all cylinders. Its an anti-humanity hate vehicle on a mission to dissect and dismantle the human condition, exposing the worst of our traits that still manifest into the power structures of our 21st century modern society. As always with loud, aggressive, heavy music it is that exposure of evil that brings the strengths of inspiration to create intense and wonderful music.

Stylistically PEM defines itself in the absence of low fidelity, traditional values, focuses on highly energetic and pristine instruments. The keyboards push into new territories with ever a truer sounding symphony comprising of a fuller range of orchestral instruments composed by Mustiis. Of course the band would later go on to record with a live orchestra. With a personal change the band acquire long time fan Galder from Old Mans Child, his band who have followed a similar journey in sound to that of Borgir. With his arrival comes fiercely sharp guitars and heavy chugging riffs syncopated to the machine gun firing pedals of drummer Nick Barker's, formally of Cradle Of Filth. The album is once again blessed by the voice of bassist ICS Vortex who gives and infectious dose of clean, manly vocals into one of the latter tracks.

The records chemistry is ferocious, continually pummeling the listener with an onslaught of rip roaring instrumentation. Behind its aesthetic charm, calculated, yet adventurous music takes the listener through inspired melodic leads, head banging riffage and evil symphonies that do more than compliment the guitars but become fully involved in a songs direction, queuing the shifts in tone and occasionally taking the lead. "Architecture Of A Genocidal Nature" plunges into an mysterious astral soundscape with deep warping synths that break into bells playing eerie melodies with the sound of glimmering stars. The slow, brooding breakdown at the end of "Absolute Sole Right" also forging atmospheres of the cosmic nebular. Its counterpart, a more expected orchestral sound, can be heard throughout but is so brilliantly executed on the records opener "Fear And Wonder" which so immaculately glides through a gorgeous, glorious ride between the opposing forces of good and evil. A true symphony to paint a picture.

It ends where "Blessings Upon The Throne Of Tyranny" opens up, throwing us into the pits of hell with a blazing blast beat and menacing guitars riffs to set the bar high for this record that doesn't disappoint. From song to song so many identities are formed for songs that take this genius sound to the many corners of hell. Beyond its musical veneer, Shagrath solidifies the albums theme with his remarkable use of the English language. As a Norwegian his construction of words can seem blunt, or unrefined for a non-native speaker. At the same time his extensive vocabulary and imagination for the language may just be a stroke of genius. There are many deep and extensive lyrics regarding many aspects of human behavior, especially in group dynamics and power systems. Of course the church finds itself under constant criticism. "Inconceivable moral priest, hides in preferable dress, invite to another pleasured feast, the concealment of joyful laughter". The record is smothered with cryptic musings to ponder and may take a while to get your head around, or perhaps find your own meaning within. "Peace means a reloading your guns" comes to mind as one of the lyrics less poetic, yet most striking and meaningful lines on the record.

The record might find a weak spot where the flow disrupts for a dropped tuning, short and more "accessible" track "Puritania". Its a great track but definitely operates with a different energy. The production is at its finest, all instruments sound crisp and clear, with lots of volume and punch, finding a stunning balance where they don't crowd each other. It has less of an immersive or atmospheric quality compared to the previous direction however Dimmu really home in on something sharp and tangible here that suits the listener who needs to get fired up, or let of some steam. Along with the other two these are my three favorite records by the band and I'm keen to talk about more in the future.

Rating: 10/10

Dimmu Borgir "Enthrone Darkness Triumphant" (1997)

Norwegian Symphonic Black Metal outfit Dimmu Borgir have been my absolute favorite band for many a year but with a recent inspired lust for their music I am reminded as to how remarkably well I know the ins and outs of this record and how much pleasure and joy can come from the depths of familiarity. Their music is my catharsis, an escape from any burden, a spiritual experience and the bands following record, "Spiritual Black Dimensions" is the greatest of musics to ever grace my ears. Of course music is subjective and personal and it is my personal experience that has solidified my love for them as waves of memories and nostalgia hit me with intensity listening to this one again. At a time when music sharing over the internet was in its infancy, songs like "Morning Palace" took me by storm with a flood of exhilarating noise that rocked my perceptions of music forever.

EDT is the bands most important record, taking a definitive step away from the low fidelity, traditional style of 96's "Stormblast", into the lush and lavish world of fine tuned, ear melting production that would bring their ambitious musical ideas to life in a new dimension. Refining their approach to songwriting and taking full advantage of a gorgeous production sound the band forge a masterful chemistry between guitar and symphony. Soaked in majesty, blasphemy and wonder these hellish dark anthems are engrossed in inspired melodies and harmonies that tunefully wist us into riveting musical worlds to paint the mind with an endless depth of emotion. Its significance and influence on the direction of the growing European metal scene is their to be seen. Taking Black Metal to a more accessible place, while expanding the possibilities with intelligent and thoughtful musicianship.

As mentioned, the chemistry of symphony and guitar is a key component in this records brilliance. The synths are thick, bold and shapely, carving distinct signatures that define the atmosphere. Beside them dense, burgeoning distortion guitars are tightly performed, oozing and melting into a shimmering harmonized wall of sound with the synths, and standing vibrantly on their own feet when commanded too. Behind them whirling blast beats and dizzying drums rattle away with precision force, joining the barrage into the glorious wall of sound. The bass is the think underlining to fill the dimension with a low warm boldness that has a few moments to inflect its own lines, but mostly acts as the dense undergrowth.

Leading the charge is vocalist Shagrath, who's praises I will sing from the highest mountain. His voice and scream is one so familiar the nuances are all known to me. Its in the finer scrutiny of his tone, snarl and delivery that a true charm can be heard through passionate delivery that has a fair few moments on this record where the words and meaning move through him. "Relinquishment Of Spirit And Flesh" for example, the growls and guttural screams through the songs mid section bellow, roar and howl with dimensions other screamers just can't reach. Its a moment of true inspiration and his voice surpasses the mortal realm, lunging us deeper into these devilish songs of eternal darkness.

The records theme, as you might of guessed, is of evil and darkness, however its forged through bright and intelligent melodies that make for memorable hooks and endless unforgettable riffs, harmonies and moments. The song structuring is smart, mixing the basic elements with some unraveling passages that make for continually exciting and easy to comprehend music. It can be a little rigid with section repetitions but not to a flaw. If this record does have a criticism it might just be the track "Entrance" which despite being a damn good song is overly simplistic in structure and feels somewhat like a rehash of "In Death Embrace" echoing a similar vibe between guitar and bright pianos.

Ive listened to this record well over a couple hundred times. Its an insatiable and riveting experience ripe with luxurious synths, rocking aggression from the guitars and that pummeling swell of darkness from Shagrath's evil screams and the menacing blast beats that have plenty a moment. The vivid atmospheres conjured have been endlessly inspiring and just hit me on that indescribable level. Its been an absolute pleasure to have enjoyed this music for so many years and I will continue to do so for the rest of my time!

Rating: 10/10

Dimmu Borgir "Spiritual Black Dimensions" (1999)

For my first post it would be only fitting to start with my favorite record, When i was a teen i was into the nu-metal and hip hop that MTV & VH1 were pushing at the time, but curiosity got hold of me when a friend in an online community pushed me in the direction of extreme metal, Dimmu Borgir, Meshuggah & Emperor for example were some of the bands i started taking an interest in. I was completely taken back by the extremity of force and aggression used in this music, it was unlike anything i was used to and it didn't take me long to become fascinated with it. This record was my 2nd or 3rd Borgir record i ordered from nuclear blast over the internet, and having only heard the opening track before i was quite shocked by the wall of sound that bombarded my ears at first listen, it took me a few more to adjust and behind that symphonic wall of sound was a musical masterpiece that, by my speculation, goes unnoticed even within the bands own fan base.

This album is 9 tracks of dark and blissful, majestic musical compositions that inspire awe and wonder every time i listen to it. The themes and sounds explored in this record are other worldly, and resonate a vibe of a place lost between life and death, it goes to a place no other record does. The music is directed by some powerful and deep lyrical content that really melds with the music. The overall sound of this album is crisp and warm with that "wall of sound" feel. The guitars are solid and packed with fantastic riffage, Astennu's lead guitar work on this record ads a haunting and chaotic flair, something i miss in later Dimmu records. To accompany all thats good I've said so far, the piano and synth work on this record is sublime and is the backbone of what makes this such a special listening experience, there are countless "moments" in this record of which Mustis's elegant key work is usually the highlight. The song structure across this album is mixed, and it feels like the band know exactly what there doing when they chose to progress or stick to simpler structures. Overall there is plenty on offer on all fronts here.

I doubt anyone reading this will enjoy this record as much as i have, but i assure you there is something very magical happening within those waves of sound bombarding your ears... let me leave you with a quote from my favorite song on this album, and of all time :-)

"Oh, dreadful angel of mine

Enrich me with the vastness of your being

Rigid father, teach me how to comprehend

I'll commit myself to understand

 For i am the accomplice"

Favorite Songs: All

Rating 10/10