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Dimmu Borgir > In Sorte Diaboli > Reviews > Roel
Dimmu Borgir - In Sorte Diaboli

Nicely Produced Snorefest - 60%

Roel, May 2nd, 2007

As we all know, after the excellent Enthrone Darkness Triumphant and the quite enjoyable Spiritual Dimensions (thanks to Nagash and Astennu, most likely), things really got out of control with Dimmu Borgir. I am not going to explain the downfall through all subsequent albums, as probably everyone has, even though we all ‘hate’ the band so much, checked out whatever they’ve been up to. (Remember, the adagium of keep your friends close, and your enemies even closer still is valid).

But whenever a band uses an entire orchestra to back up boring riffs, or re-styles and re-releases an entire album which was fine to begin with, it would seem like the proper time to think long and hard as to what you want with your band. I do understand that once you’ve chosen a specific path, i.e. musical style, it is hard to deviate from it, especially if a band is a six-man cash cow in its own right, but is it too much to ask for something demanding?

So, on this point of the juncture, we are graced with the release of In Sorte Diaboli. And now I will grace you with my observations and complaints in random order of appearance. I wish I could assert otherwise, but the songs on In Sorte Diaboli are simply boring. The intro for instance; what is that? Another reviewer hit the nail on the head when he said that the intro sounds like a computer game. It sounds like the music to a War Craft orc attack on a village. We couldn’t live with Gorgoroth’s Mario Brothers keyboard interlude on their penultimate effort, why should we accept it as an intro here? Besides, since when does an intro repel in stead of draw you into a new album?

Then there is the use of annoying keys: take for example The Fallen Arises, an instrumental song somewhere in the middle. Judging from the title, I presume it is about the priest coming to realise that his transfer to the anti-Christian side has come full circle or something. I don’t hear it. Never mind the intended message of the song; it is absolute filler material!

Shagrath has supposedly made some headway with his vocal delivery, but where, I ask you? I still hear the same rasp with vocoder effects. ICS is as always a breath of fresh air between the croaking of Shagrath, but on In Sorte he does not fit in. If only he had remained with Borknagar. What a performance that was on The Archaic Course. Now, he is just being pulled from Dimmu’s sleeve whenever songs need some diversity.

As for the lyrics and idea behind them; isn’t the whole concept a bit childish? A clergyman who decides that religion isn’t his cup of tea. Shiver me timbers, how exciting: “Let’s see, now. No, no, I am definitely fed up with Catholicism, let’s summon the Dark Lord and see if he has a job opening.” I read somewhere that Silenoz was of the opinion that the concept was sure to produce some dark music. This may be true for some, but if anything, it makes for uninteresting song titles (The Sacrilegious Scorn, The Fallen Arises, followed by The Sinister Awakening, The This, The That) that are supposed to have a storyline in them.

Speaking of (some of the) songs, what about The Sacrilegious Scorn? An Arcturus rip-off! Compare it to the first four songs on The Sham Mirrors, especially the song Collapse Generation. Then, there is The Sinister Awakening, which has this chant in it, where some sort of diabolical chorus shouts ‘Anti-Christus’ or something alike. Why? It sounds so obviously evil. I mean, isn’t the overtly satanic image getting a bit old (along with those hilarious spiked boots Shagrath and Co. have taken a shine to)? Well, it will probably make for a nice shout-along during concerts.

When I heard Hellhammer would lend his abilities to spice up the Dimmu crew, I knew beforehand that lots of people would hail his jumping aboard without any complaint whatsoever. And I was right; look at the reviews below. While this is all fine and dandy on account of Hellhammer being one of the best drummers in extreme metal, it is not okay to pretend he has such a great influence that he has single-handedly lifted Dimmu Borgir up to a new (or should I say ‘old’) level with In Sorte. It may be a better album than its predecessor, but it still is not really good. Sure, Helhammer shows his skills on the kit (such as during the little drum break in The Foreshadowing Furnace), but for the most part, I cannot spot the difference between Barker and Hellhammer. So, while Hellhammer is superb, please do not give him credit beyond the fact that he performs as always.

Isn’t there anything that may be worth your money on In Sorte? Difficult question. Would you spend, say, 18 to 20 euro/dollar/whatever currency (depending on where you are, off course) on something you probably already have in a better and more convincing form? I didn’t think so. Yes, In Sorte sports great production, has some brooding melodies, and great musicianship (this does not relate to the ability to write good riffs or songs, mind you), but what does it matter? It just does not do anything. On the other hand, if you are really a fan or have this nasty compulsion of buying everything a band releases, please go ahead and buy it. Maybe after the umpteenth unnecessary buy some people will realise that it is not essential to own all albums by a band, and that it is better to be critical.