Dimmu Borgir knew how to play, and very well, his cards in the midst of the "boom" of the Norwegian Black scene. Formations such as Mayhem, Satyricon, Immortal, Darkthrone or Emperor changed the face of Metal with its icy and satanic premise, and since then, to the bad of many, the fief has never been the same.
After the hackneyed world of demos, rehearsals and shows for four cats (and three, drunk as a vat) the warriors of Silenoz and Shagrath got down to work not to clash in a genre in which the magnificent works are already they were becoming scarce. "For All Tid", the previous work of Dimmu Borgir, gave us a fierce album, very nihilistic and dark, with a lot of secrecy about Bathory and the great names of the past, and in the middle of 1996, just when the Norwegian bands positioned themselves facing Futuristic thrones (and Cradle of Filth, very clever of them, took advantage, like nobody, of the move), the combo of Shagrath decided to edit a great work. It was good to be considered the puppies of the move. Dimmu Borgir was going to show the whole world that his message was as hot and seminal as that of Satyricon or Emperor. Dimmu went for it all, and "Stormblast" certifies this.
A cover, rather dated, but with a certain grace, shows us the illustration of a tower, and in full storm. Will it be one of "The Two Towers? No idea, but hey, it works as a Black band presentation: storms, the night, a castle, clouds ... finally, everything a presentation in the genre must have Thank goodness, that over the years, they improved, and a lot, their style when it comes to "showing up" in stores. Well, let's not digress. To live "Stormblast" has been said ...
"Alt Lys Er Svunnet Hen" ("All light has faded") that begins very precious, with a piano that knows how to move, soon becomes more hungry and harmful and cries out for revenge. Speed, some very majestic keyboards, a full-blown drum kit, a very accurate vocalist (with some flair to Gunther of "Ancient Rites") and a Bathory-like aura at various points in the composition. Symphonic and atrocious Black Metal, overwhelming and loaded, totally, with feeling and passion. That keyboard movement is priceless as of minute 2.50. Intense beauty. What a blast. Total classic, both Dimmu and Black Metal.
"Broderskapets Ring", a small tribute to Tolkien's mythical book, (obviously, "Lord of the Rings") envelops us in dense, malevolent and murderous darkness. The tempo decelerates, the melody catches us and Shagrath, who alternates aggression with a greater profusion of clean (and spoken) notes, comes out, both with his six strings and with his work as narrator. Beautiful relaxation and, again, with a tremendous whiff of Bathory. Which Norwegian gang does not pay homage to them? Evocative song. Another hit.
Born with a certain flavor to Darktrone and Emperor, "Nar Sjelen Hentes Til Helvete" does not hide the band's unbridled passion for being a riffera machine and a thunderous creator of classics. The work of Tjodalv, the imposing drummer, is memorable. The middle part, with that bewitching piano, is also in charge of raising the bar, never to move the neck again as if possessed. Epic attack, but without mercy.
"Sorgens Kammer" (instrumental, of which I have a couple of minutes, or more) and "Da Den Kristne Satte Livet Til" (with a very dedicated Shagrath and a dreamy atmosphere) serve as hors d'oeuvres, with a lot of hook, to the queen of work, the girl spoiled by Dimmu in 1996: "Stormblast". From the initial storm that serves as our intro, Dimmu throws us, with unbeatable mastery, a theme that excites, tears the soul, makes you hit headbanging, which has an ideal setting, with compact and solid instrumentalists (in addition to being highly engaged) ) and that both intends to be the fastest, as suddenly, wants to be the most (darkly) daring, or intense. If the 96 album was a living organism, "Stormblast", the theme-title, would be the heart. The one in charge of making him pump our fucking blood. To make it boil and burn us alive. It's cool to burn to Dimmu's rhythm. Of course. The end, with another part of the piano that leaves you hypnotized with beauty, makes us want nothing more than to listen to the song again. What a hymn. The theme has it all to compete with the best. To the list of magnificent black metal compositions, such as "I'm The Black Wizards" by Emperor, "Mother North" by Satyricon or "As the Eternity Opens" by Immortal, without thinking, we must add "Stormblast". Few themes, in the obsidian realm of Black, have given me so much. Immensely brutal and epic. (Almost) As beautiful as Quorthon's rebirth.
"Dodsferd" (hybrid "Mayhem-Emperor-Immortal"), "Antikrist" (with an anthology bass-guitar duel, and another of the best moments of the work), "Vinder Fra En Ensom Grav" (with a lot of meat "Emperoriana") unleash the inner beast of the Dimmu, and incidentally, ours. The history of Black Metal, from its origins with Quorthon to the 95 era, is served, as a sonic encyclopedia, in "Stormblast". It is noted that Shagrath and his were the sea of inspired. And eager for a throne, it wouldn't take long for them to arrive.
"Guds Fortapelse - Apenbaring Av Dommedag", the final affront, which begins with a lot of "Wagnerian" meat, soon releases more blood, nails and leather, and at full speed. More evil anger, more "epic-anti-Christian" intent, and Dimmu's final effort, at work, to make us bleed with pleasure. A point and end of the most accomplished.
Total horns (mega-tall) for Dimmu Borgir and his "storm-smasher". A worthy enemy to the biggest, oldest names in the kingdom. Huge anteroom to the grandiose "Enthroned Darkness Triumphant", and a giant leap on the scene. Masterpiece.
