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Upon returning to the metal community after getting out of prison in 2004, Jon Nodveidt (RIP 2006) put together a fresh lineup featuring him on guitars/vocals, Sethlan Teitan on guitars/backing vocals and Tomas Asklung on drums. Definitely some solid melodic death metal featured here. There are some good songs on this release, but nothing compared to "The Somberlain" or "Storm of the Light's Bane". Jon sings about his belief in the occult. At a young age of 31, he shot and killed himself because he felt like he did enough in this world, which is a tragedy.
The music features guitars that are mostly medium paced with thick chords and melodies. The solos could've been a little bit better played out, they're just average. But the rhythm guitar goes well with the music. Palm muted frenzies, Jon's unique voice and an average production makes "Reinkaos" a little bit better than mediocre album. Some songs have great chorus's such as "Starless Aeon", but as a whole, the album falls a little bit short of worthiness. I'd say take out the solos and the rhythm guitars would've dominated.
Dissection didn't copy anyone on this album. Musically it's noteworthy, just not as good as past releases. There are some songs that feature an acoustic guitar which I found to definitely augment the album. Straight forth melodic death metal here, nothing else. Some songs just are totally awesome with the guitar riffs shining in sheer good spirits. As a whole, the album falls a little bit short of being a remarkable album like those in the past. But it isn't a total waste of a release, just not the best. There are a lot of songs that have a rhythm guitar with some melodies in the background.
I don't get into the lyrics because they're eerie and demonic. These writings reflected his belief in the occult. Very strange stuff. I'm assuming that he put them together while he was in prison. They're dark definitely and the music augments the demonic words Jon spewed forth. Some instrumental work which was featured on the title track. The musicianship was not at its peak though and I think that some songs should've just been omitted. Some tracks were boring and uninteresting, but as a whole "Reinkaos" is just okay, nothing special.
The mixing I have a beef with. The bass guitar was barely heard, the leads weren't very loud, and the same applies to the melodic guitar played in the background over the rhythm guitar bits. Other than that, the rhythms were very well heard and the same applies to the vocals and drums. I think that overall, the production was solid despite these flaws. I enjoyed the album as a whole even though a few songs were monotonous especially the instrumental. The acoustic guitar was very well heard and was highly original to listen to.
As a whole, "Reinkaos" is decent enough to purchase if you're a melodic death maniac like myself. Again, if there were no lead guitars, the album would've been much better. The solos just didn't hack it. The rhythm guitar was solid in there, but some tracks weren't very well constructed. Jon's voice was unique and appropriate for the music. On the last track there features a guest female vocalist. It was difficult to hear her though, another beef with the mixing. I would say that "Reinkaos" is worth picking up, but it's definitely not as good as the old Dissection releases.
Out of all the albums I listen to, there's a few handfuls of cd's that just never get dull or boring. Reinkaos is one of them. Of all Dissection's releases, Reinkaos usually takes the most flack from critics as being too "Gothenburg-y" due to it's more polished sound quality, however, the fact that this record is in many ways different from the first 2 Dissection albums is one of the reasons why i love this record so much; it's different.
The entire album is based around Nodtveidt's anti cosmic spiritualist cult, the Misanthropic Luciferian Order, which is essentially the same thing as any kind of arch nemesis in some comic book/Action movie. Which adds a bit of a flair for this album, it's essentially a concept album based upon the teachings of their (un?) holy book, the Liber Azerate.
Musically, this album is almost perfect. The guitar melodies are hardly reminiscent of any Swedish melodic death band. The sound is a bit darker than In flames, Amon Amarth, or Dark tranquility would play which adds to the awesomeness of this release. This is one of those albums that it's almost impossible to name a "favorite" track, but Xeper-I-Set, Maha Kali, and the title track; Reinkaos, are among my most frequently listened to. Xeper I Set is probably the biggest stand out track on the album, the overall pace and tempo of this song is significantly different and has an almost thrash-esue appeal to it at times. Another huge turn on for me in this album is the lyrics, Jon had already made a reputation as being a great lyrics writer with song titles like "the Somberlain" and "where dead angels lie" but some of the occult chants he does in Reinkaos are just fuckin powerful... even if I have no idea what he's talking about.
Being a huge melodic death/black metal junkie, I have to say this is by far one of my favorite pieces of melodic black metal I've ever heard. It's been a classic of mine for at least 2 years now and unlike the majority of the albums I listen to, Reinkaos just never gets old. Every track has another fresh, and melodic as hell sound to it.
Reinkaos, meaning return to chaos according to Dissection mastermind Jon Nödveidt his last interview before his death. This is based on the teachings of the Misanthropic Luciferian Order (now called Temple of black light), the ordered cosmos is a prison of laws while chaos is unlimited power and free from the laws and principles of the cosmos (hence the label Anti-cosmic metal of death).
Throughout his time in jail Nödveidt has gathered inspiration and creativity to write Reinkaos. It is a vessel of sonic propaganda for anti-cosmic luciferianism as it is filled with invocations of evil, chaos and dark gods. In reality this translates into some deep and at times silly lyrics. I am sure Mr Nödveidt and the rest of Dissection are (were) serious about Satanism but to someone who doesn't buy into the chaosophy (like me) it's hard to listen to the lyrics without a hint of eyes-roll. Especially when considering this album sounds less evil and sinister than its predecessors.
This leads to the music itself. Dissection has this time opted for a more melodic death metal approach and dropped the black metal. This to many fans disdain and yes compared to the splendor of The Somberlain and Storm Of The Lights Bane this falls short but I prefer to look at this album for what it actually is, a solid melodic death metal release. Look for that cold atmosphere elsewhere because you will not find it here. This is more of a warm summers day rather than ghastly silent plains and it works. The tempo is overall slower than earlier too and the riffs are simpler and more percussive. Guitars have always been the best with Dissection to me and this is true here too, there are many catchy melodies and sweet solos. Drums are nothing spectacular, sounds very mechanical compared to the early work.
The vocals have also changed into a more melodeath growl. It's completely decipherable (with the exception of some of the invocations which are as understandable as Klingon if you have never heard or read them before). This is where the lyrics shine through and can sound like complete nonsense if you take them seriously. I enjoy most of it because I know it has meaning behind it, it's not just random satanic misanthropy like many other black metal bands. It seem to cover most of the ideology Dissection stands for which I have struggled to understand many times but lately I have grown to accept I probably won't. Makes for fun lyrics though.
So what is the final verdict? Well this is a solid album but not earth shattering. My main problem with it is too many fillers. If you like melodic death metal this is a sure bet but if you want a triumphant return to form this will disappoint.
After many years of waiting "Reinkaos" came out and I can tell it was not worth of waiting at all. This is one of the biggest disappointments in my life when we speak about music. I can only remember I was disappointed like this when Mayhem released "The Grand Declaration Of War" and when Kataklysm released "Victims Of This Fallen World".
I can't understand how anyone can say this album is good. Even if it wasn't Dissection it would not be very good and when I compare this album to "The Somberlain" and especially "Storm Of The Light's Bane" it sounds miserable. Some would say that bands need to change and that's OK, but this is change to hundred times worse. "Reinkaos" has nothing in common with previous albums. It's not the same kind of music. "Reinkaos" is some kind of melodic death metal with very much rock and roll elements.
The songs are simple, slow and boring and they sound somehow unfinished. "Starless Aeon" sounds solid. "Black Dragon" is also good and there are maybe few parts more that are good, but when we speak about whole album it's not good at all. I don't say its complete shit, but it's not good either. "Beyond The Horizon" starts with almost same riff as "Alone In The Dark" of Testament. "Xeper-I-Set" is horrible. I can't stand that song.
I still respect Jon Nödtveidt as a man and musician, but this album wasn't necessary at all.
I've noticed that a lot of people don't like this album, and rather than try to justify why it sounds the way it does, in my opinion, I'll instead focus on why it kicks ass.
This is just a fucking solid metal album. Not black, not thrash, not death, but stright up metal. With raspy vocals, that is.
Sure, you can say "this is an In Flames rip off," but those pussies have totally abandonned riffage in favour of syrupy melodies and lame chugga-chugga "core" bullshit. The opening "Nexion 218" throws us into the black gaping vortex that is "Beyond the Horizon." There are RIFFS here! YAY! That song feels like a black hole, devouring everything in existence. The title track has some especially dark riffage as well, most notably towards the end. "Black Dragon" is quite epic feeling, featuring a recurring acoustic melody that gives the song a nice atmosphere. "Dark Mother Divine" is the most "diverse" number on here, going through several different moods, all of them rather traditional, before going into a fast, raging gallop at the end...very fucking nice, I must add, that ending! The faster songs never really break into blasting territory, but "Xeper-I-Set" and "Internal Fire" keep my head banging, especially the lead break in the former which sounds actually brutal.
The best comparison I can use in the case of this album is Metallica's black album. All the songs here are equally catchy, straight forward in structure, and very driving. I liked all the songs immidiately upon listening to it, and had it not been Dissection, my initial reaction (of disappointment) would have been a lot less negative. Sure, there are no Byzantine epics like we found on earlier albums, nor is there quite as much speed, but the songs are heavy and driving.
A very thick production, courtesy of Jon's brother Emil, keeps everything very palatable. Whether or not you're going to hate that is totally up to you. This isn't Dimmu Borgir or Cradle of Filth, as the songs are still entirely metal, and the feelings behind the subject matter are sincere, but some will whine that this robs it of a dark feeling.
So why not 100%? Well, as much as I enjoy Reinkaos, it isn't the classic album that Storm is. All the songs on here are solid, really good, but sadly, they aren't paradigm shifting. Also, the drumming is not as fantastic as Ole's was, but well, it does what it's supposed to, but nothing more, sadly.
While I miss Dissection and especially Jon Nodtveidt quite a lot, this album is a highlight in their brief career of evil, and a powerful testament to music being more than simply songs.
No, this album is not as good as "The Somberlain" or "Storm of the Light's Bane," but it's almost unfair to compare it to those two masterpieces. Reinkaos, on it's own, is a tremendously done album. If you're like me and you're a Dissection-worshipper, this is another great Dissection album for you. Personally, I think Dissection fans should just be glad that Jon even decided to continue Dissection.
This album is more of a melodic death metal album than a melodic black metal album like their earlier works. So if you're looking for a lo-fi black metal release, go get some Darkthrone or Mayhem. If you're in the mood for something a little more well-produced then lend this album an ear.
Time for the highlights of this album. The best tracks on here are Dark Mother Divine, Black Dragon, God of Forbidden Light, and Starless Aeon. Even Nexion 218 (the intro) and Chaosophia (41 second acoustic interlude) are catchy. The lead guitar on this album is a dominant element on this album, and fortunately it's not just guitar solo's for 21 minutes like prog metal. It's very well balanced with the rythm and aids the riffs and songs in a positive way. Jon's vocals have not suffered much or at all during his prison stay. His talent has not disapated at all.
And why it didn't get 90 or higher? The rythm guitar. Their rythm guitar on this album is basically all the same - power chords with rests in between a few strums. Luckily there is a lead guitar player here and thankfully he's good so the guitar, overall, still becomes a highlight. The song Internal Fire is also a lowlight, it's a boring song. Xeper-I-Set is also not very good, no matter how hard you try to like it. Other than that there are no lowlights, at least for me. You might think the "Tohu Tehu Teli Than!" thing in every song gets a little annoying but for me it's just neutral - I don't mind it nor do I dislike it.
So if you're a Dissection fan get this album, definitely. Even if you're a diehard black metal fan you should like this album despite it's excellent production. This album gets a few extra points for being the last Dissection release ever, as we all know Jon killed himself. Get this album, you wont be disappointed.
I had never heard of Dissection until I picked up Reinkaos, and while expecting another black metal band with raw production, as if it were recorded in a basement, I was completely surprised. This is without a doubt the best black/death album of the last 10 years.
After Reinkaos I picked up Storm of the Lights Bane and the Somberlain, both being great albums for sure, but the sheer power of Reinkaos is undeniable. It isn't typical black metal that's based around blasting and power chords. It has great melody, twin guitar solos, and imaginitive drum lines. It has set itself apart from the black metal standard and kept its distance. For any fan of black and death metal this is an essential release, for it captures Jon Nödtveidt's determination in his music and his firm beliefs as a Satanist.
The one weak point of the album is the song 'Internal Fire'; the atmosphere is lacking and the riffing less creative. It's forgettable after hearing 'Starless Aeon', the overall simplicity of it, while still making the best track on the album. The first riff is heavy, with a great melodic lead over top of it, which leads perfectly into the verse, with Jon absolutely spitting the lyrics. The chorus containing the esoteric formulae is almost epic. It has a powerful mix of Jon and Set Teitans' guitars.
Most songs on Reinkaos follow a basic formula of melodic leads, and crushing guitars, and that isn't a bad thing. Most notably would be 'Maha Kali', for the most creative music, and some of the most well written lyrics. And the use of female vocals towards the end of the song is amazing. It's a shame more bands don't follow Dissection's example, we would see a rise in black metal again.
This is the last album you'll ever hear from Dissection, and it isn't to be missed.
Even though Jon Nodtveidt had always been Dissection's driving force and main songwriter, the sound of Dissection changed a little from album to album as the band personel changed. This is partly because of Jon's desire to not repeat himself musically, and partly because he always gave the members of Dissection some room to add their own touches to the songs. And here we have a new record that was made by a new line-up. So, naturally, the sound is going to be altered somewhat.
I don't feel that "Reinkaos" is as out-of-left-field as some people make it out to be. This seems to be an unpopular opinion, but if people would judge it on its own instead of comparing it to "Storm Of The Light's Bane", one might see that it's not SUCH a stretch from the old material...it just leans in a more "traditional" direction.
There's a lot on "Reinkaos" to savor. Jon really flexed his guitar muscles on this album. There's lots of cool, memorable riffs, great guitar solos, well-put-together songs. There's even a few moments on "Reinkaos" that are more technical than anything on the other records. (Set is actually the most solid "rhythm" guitarist that Jon ever had to bounce off of)
I will say this though: "The Somberlain" and "Storm Of The Light's Bane" contained nothing but CLASSIC songs. I mean, there's not one even mediocre song to be heard on either, particularly "Storm...". "Reinkaos" can not make that same claim. I'm not saying that's there's any BAD songs on it, but there's a couple that don't quite cut it...at least, not to my ears. Specifically, I'm talking about "Starless Aeon" and "Black Dragon". They just seem a bit pedestrian compared to the rest of the album.
It should also be said that Jon stated, well in advance, that "Reinkaos" would be "more direct and to the point". This has something to do with the lyrical content. Being that the lyrics were intended to be actual invocations and evocations, one would assume that simpler structures would be appropriate.
And indeed, there's a lot of magic(k) to be found in the lyrics. Perhaps that's why this record polarizes people so severely. It seems that people who are, at least, appreciative of the occult/satanism, find reedeming value in "Reinkaos" while those who are simply looking for a Dissection record tend to feel left out in the cold.
In any event, Jon acheived his goal of creating "a truly Satanic record". And apparently he was so pleased with the result, that he chose to end his earthly existence after its creation...Feeling that he had brought Dissection to its logical conclusion and with it, his life's work.
(Note: Like the majority of my reviews, this was originally written for Amazon.com; the date of this one is 8/7/2006.)
To say the least, there are still shockwaves running through the metal community about this album. But honestly, it's not like we weren't given a heads-up. The "Maha Kali" release gave us a big hint as to which direction Jon was headed in with his songwriting.
Not surprisingly though, people freaked when this album came out. Those expecting a second "Storm of the Light's Bane" were treated to something radically different. Dissection now play a very dark and sinister type of melodic death metal, but nothing close to In Flames, as some have stated. (Though I will say, a few riffs from this album would have fit perfectly on their 1998 album Whoracle.) There are no blastbeats or 8-minute "epics." The sound here is more streamlined, and most of the songs rely more on solid guitar-oriented songwriting and a sinister atmosphere than the black metal norm.
I will say that this album is definitely easier to get into on a musical level than previous Dissection albums. "Starless Aeon" and "God of Forbidden Light" are straight-up catchy, and "Xeper I Set" will grab some unexpecting listeners with its thrashy demeanor. Jon's vocals seem more restrained here, but seem to work within the context of the music. The drumming is simplistic and fitting, but never becomes stale or boring. Production overall is pretty good, even if it's a bit too sterile and digital. The guitar tone is crisp and the leads, solos, and harmonies cut through the mix when they need to.
My favorite thing about "Reinakos" would have to be the lyrics. Jon's long-time affiliation with the MLO comes through here, with invocations in other tongues to the gods of chaos and other things such as anti-cosmic philosophy. It may come off as pretentious at first, but soon you'll find yourself chanting "Dies Irae, Dies Illa, Solvet Cosmos Infavilla!" sooner than you think.
Even if this album sounds a bit dated, it is a solid comeback for one of extreme metal's most signifigant bands.
Reinkaos is the third full-length from the mighty Dissection. In fact, it is the final album from this legendary band. It was recorded in Black Syndicate Studios, in Stockholm, Sweden. Prior to being arrested, Jon Nödtveidt had already begun working on material for the next album. As he put it, these ideas were but seeds that continued to evolve, during his years in prison, which finally came to fruition as the band entered the studio and recorded the album. This music is the result of years of focus, with no contact from the outside and no idea how the musical landscape was changing in his absence. In this sense, one might say that the album is very pure. Some have expressed some disappointment with the change in sound. One could say that it is a shame that these unfortunate souls have missed out on the magic of this record, but it was not created for them anyway. The easiest thing Jon could have done would have been to repeat himself and copy Storm of the Light's Bane, for example. Instead, he made the music that he believed in. He had made the statement that he wished to, with the earlier releases, and felt the need to go beyond that rather than stand still in time for 11 years.
One of the primary mistakes that many seem to make is claiming that this is not a Black Metal album. Perhaps, these people missed the countless interviews in which Jon said that the band would recruit only Satanists that were dedicated to this concept; a prime factor in the exclusion of any former members. It is all too often forgotten that Black Metal did not begin with the tremolo riffs and blasting drums that characterized much of the Norwegian bands of the Second Wave. If you go back in time, you'll realize that Mercyful Fate was one of the earliest Black Metal bands, and possessed very few similarities to this idea. The concept, lyrical and spiritual, has much more to do with defining something as Black Metal, as opposed to stylistic choices. Whether or not the music has gone back to the roots of Metal and bears a more traditional approach to the songwriting makes no difference and has nothing to do with its distinction. The point here was to "put focus on all traditions that work with the powers of the nightside and which lead through the left hand path towards gnosis and spiritual transcendence". Upon first listen, one might think that these songs are less complicated than those from earlier albums. In fact, this is incorrect. Aside from being a far more spiritual process than in the past, the songs were written in a very meticulous fashion, utilizing occult music theory and creating lyrics to evoke the dark powers that they represent. A great deal more effort went into this than ever before.
Naturally, I found myself somewhat disillusioned with the Maha Kali E.P. I later realized that my primary complaint with that release was the production. I had gone into it expecting the same cold and nocturnal feeling that was present on The Somberlain and Storm of the Light's Bane. The thing is that such expectations were simply unrealistic. In retrospect, the E.P. served well to prepare people for the change that was to come. If I had to guess, I'd say that the material that was developing around '97 was more in line with "Where Dead Angels Lie", focusing more on melody and less on speed. That seems to be the main link between new and old, in a sense. Like many, I was a little skeptical about the new album, but an interview that followed the release completely sold me. Jon's words were filled with conviction and passion for Reinkaos. He viewed it as the completion of his work as a musician, and such words are not to be taken lightly. And, with the recent news of his passing... it would seem that this was all gravely serious to him.
The album begind with "Nexion 218", which bears the trademark Dissection sound. It is a brief intro, beginning with an almost sorrowful acoustic piece that is accompanied by the sounds of cold winds and crashing waves. This, suddenly, turns into something of a war march. The riffs are crushingly sinister and filled with some majestic essence. This is the perfect build for what is to come.
"Beyond the Horizon" explodes with a vicious, yet melodic, thrash riff that isn't too far removed from the title track to their last album. The first thing one might notice is that the production is a lot thicker than on the first two albums. The bitter cold feeling is gone and there is little risk of these riffs freezing your skin. However, the dark melodies will easily send chills throughout your being. By the middle of the song, the pace slows down a bit, building toward another epic melody. The vocals are nothing short of amazing. Jon's voice has held up, extremely well, and is as venomous as ever. The music is very memorable and even haunting, at times. Another key element is the passion that is evident from the performance. The hatred for this world, and for existence itself, is overflowing.
"In this place so sinister I shall find my dreams
Illuminated by the blackest flame
To transcend with dragon wings"
The next song is "Starless Aeon", which erupts in a similar manner as the first song, with some brief thrash bit, before a more melodic riff serves as a transition to the main theme. Near the middle of the song, things slow down and one of the greatest solos of Dissection's career grabs you by the throat and begins to suck the life out of you. It is ephemeral, yet effective. One might say that Tomas Asklund's drumming seems a little mechanical, but it's a minor complaint. Lyrically, it could not be more epic than this, as one truly feels that the forces of chaos are working all around, unraveling cosmic order and bringing the end.
"This is the winter of the last aeon, the hungry end is coming soon
Harbinger of the day of wrath will eclipse the sun and rape the moon"
The brilliance of the song arrangement soon becomes apparent, as "Black Dragon" opens. Not only was each song crafted with great care, but the placement of each, in relation to the others, was no accident. It begins with a dark and introspective acoustic piece, accompanied by ethereal sounds and black invocations. This is followed by another soul-piercing lead solo, which haunts and enlightens. Not as fast as the previous songs, this one is more mid-paced, while still being quite dynamic. As with the rest of the album, the melodies are very memorable and take permanent hold in your mind. Jon's vocals sound serpent-like and possessed. Later in the song, there are more lead solos of utter genius. What many seem to neglect, and where Dissection seems to excel, is infusing the music with genuine passion and maintaining this element. This forceful hymn to the destruction of life and light is one of the highlights of the album.
"Jormungand - Lord of the poisonous sea, fulfill the twilight prophecy
Unleash your hatred upon all life and kill this world in the final strife"
"Dark Mother Divine" begins with an ominous tone, with a brief clean interlude, before the furious hymn to Lilith is unleashed from the shadows. The riffs are very memorable and it is worth noting that, despite the stylistic differences between this and earlier recordings, it is nearly impossible not to recognize exactly who this is upon first listen. Jon Nödtveidt is a very skilled musician and knows well how to achieve the goals that he set for himself. Regardless of what manner he chooses to express his ideas, it is all unmistakably Dissection. The song continues to build, until a very frenzied thrash riff takes over, near the end. It is all very powerful and one must realize, again, how the placement is designed for the album, itself, to serve as a ritual of sorts.
"Open now wide the Kliffot''s shell - Open wide the gates of Hell!
And lead us to the kingdom of Chaos where the dark gods forever dwell"
This is followed by "Xeper-I-Set", which is one of the shortest songs on the record. It starts with some sounds that seem as if they're coming straight from hell. It stands in contrast to the previous couple tracks, in that it is faster and more straight-forward in its approach. However, it is no mere thrash-fest, by any means. Once you get beyond the initial moments, there are more melodic moments and an absolutely blood-chilling scream that freezes your skin to hear. One might expect this to be some filler track, given its position, but it is also integral to the overall design. The epic nature of Reinkaos is also present in this song, growing as it progresses. The ending sequence is of particular note.
"Chaosophia" is an instrumental piece, consisting of a simple acoustic guitar. The feeling is very somber and haunting. It works well as an introduction to "God of Forbidden Light". This one begins with dark melodies and a feeling that seems to indicate that the end is drawing ever nearer. It's more mid-paced that the last few songs, adding to the epic ritual feeling. It must be made clear that, while words can give some idea of what one can expect from the experience that this album provides, they fail utterly at truly capturing the essence of this masterful work. There is some dark power that is labouring within these notes and lyrics. The solo, in particular, is like some dark mist that makes clear your true path, as opposed to obscuring the way. While listening, you can feel something awakening from deep within.
"Raise the hidden flames within us
Into chaos set us free"
"Reinkaos" is another instrumental, though much longer than the last one. It is worth mentioning, at this point, that the album is meant to be listened to in solitude. Preferably, one would be illuminated only by a few candles, placing all focus on the magic being created by this music. There is a dark beauty to be found in these somber and doom-inspired melodies. The riffs, the solos... everything here is perfect. Around the mid-way point, the tone takes on an even darker vibe. It is almost as if your spirit is being dragged toward the murky depths, far from the light. The music has a calming effect, as if preparing you for something.
"Internal Fire" is the final burst of energy before the dark ritual is complete. In a sense, it's like some form of cleansing. It's very fast-past, by comparison, and quite straight-forward, possessing a great deal of intensity. Despite this, the song is still dynamic and features enough variation to remain relevant and interesting. As it progresses, the tension continues to build within you. The time has come.
"Black - The flame I bear inside
Black - The flame shall never die
It will burn to ash the cosmic lie
Awaken me to ride the Internal Fire"
All of this energy that has been building, it now finds release in the form of "Maha Kali". This is the black ritual that will offer liberation from this cosmic prison. Regarding the music, it is much more natural than the E.P. version (which was recorded in prison) and sounds more organic. It's fairly mid-paced, bearing similarities to "Where Dead Angels Lie". The word 'epic' applies to much of this album, and this song is no exception. It truly feels like the climax to the entire affair, and the ultimate end. In the latter half of the song, there is a calm section with female vocals in the background and Jon's impassioned invocation. All of these elements come together to create something quite powerful. The walls begin to break down and the haunting melodies serve as blades with which to slash open your veins and seek your own freedom from this feeble reality.
"Through all illusions I shall see
I shall cremate this world and set my essence free"
This is a very brilliant and powerful record, not to be so easily dismissed based on unrealistic expectations or the complaints and grievances of others. It is a masterpiece of black art and something that may not be understood by all. It is their loss, truly. The magic within this album cannot be denied, yet it is for each person to experience and judge for themselves. Reinkaos is the final chapter, and ultimate statement, from the legendary and eternal entity known as Dissection. It is all the more poignant in that Jon felt this was the crowning achievement of his musical career (perhaps his life) and has since passed from this mortal realm. He has left behind a legacy that will live on until the flames of chaos consume this world.
Man, this release had me snoozing. The combination of Arch Enemy ripping off and a soft, lame, overdone production, with no abrasiveness at all, make this THE perfect way to ensure you get a good night's sleep.
Why I am I pissing and moaning? Because this album really disappointed me. Sure, I saw it coming after Maha Kali. Dissection totally lost it. Making melodeath is one thing, but at least Mr. Nodtveight could've TRIED to make it sound interesting or sinister. There is NOTHING sinister about this release. Aside from that, the songs just don't turn out how you would expect them. There are no emotion and passion-filled cruces; the riffs in between the bridges of the songs are really, really horrible and unmemorable.
Oh, and did I mention that these songs are really just verse-chorus-verse-chorus-bridge-chorus pop songs? Well, even though Mr. Nodtveight hinted at it in past releases, it really comes to light here. The songs are so predictable that you could base time off of it.
Yes, I know people evolve. Jon Nodtveight said that. This isn't evolution. This is devolution. Evolution was going from the Somberlain to Storm of the Light's Bane. Evolution is correcting past mistakes and branching out and incorporating new genres into the fold. This isn't evolution; this is just bait and switch. There is LITTLE old Dissection present in this. One key element of evolution is that you remember your roots; there are no roots to this.
All of the above, though, is irrelevant; this is just boring, plain and simple. Evidence: Maha Kali. Bad ideas from start to finish. Putting a mallcore riff in there -- bad idea. Putting female vocals in there -- bad idea. Making a song about the goddess of destruction that is lame, slow, and plodding -- bad idea. Other evidence -- Starless Aeon. Yes, the song they made a video for. Having a really shoddy intro -- bad idea. Tricking the listener into thinking the rest of the song will be awesome by actually putting A SEMI-GOOD RIFF IN THERE, then immediately switching back to even worse riffs than the intro -- bad idea. Having only 1 or 2 drumbeats in the entire song -- bad idea. In fact, Tomas Asklund, for whom I usually admire for his great drumming -- after all, he used to be in Dark Funeral and is now in Dawn -- blows here. All the beats are the same, lame beat. Sure, he uses a few other beats, but it's all the same 3 or so beats. At least Ole Ohman was varied in Storm of the Light's Bane.
Of course, I got this album, knewing it was going to blow. I'm a Dissection fan. Even if it's a turd, it's still Dissection. It's not horrible and unlistenable, it's just really boring and impossible to finish awake. Unless you have every other Dissection album, I'd do good to stay away from this album. For being the "Third and Final chapter in Dissection's Legacy", it sure blows. I wonder if Jon Nodtveight had these pretentious thoughts and interviews before he got incarcerated...
Expectations have been extremely high ever since Jon declared that there would be a follow up to the musical brilliance that is Storm Of The Light's Bane, but at the same time there have been doubts to whether he could ever top that milestone. Now Reinkaos is upon us, and what is the answer to these doubts?
Let set this straight from the beginning, Reinkaos is nowhere near the perfection that is Storm Of The Light's Bane. It can't hold up to the great debut The Somberlain either. In fact, many parts of this album doesn't even sound like the Dissection we used to know. The black metal influence of the past albums are gone, and has been replaced with a sound that leans more towards the melodic death metal genre. Epic instrumental passages and the cold and fast, yet melodic riffing that used to be the bands trademark is also gone, as Reinkaos is packed with straightforward and midpaced songs. Many fans of the old has labeled this record as a watered down version of In Flames, and I must admit that there are riffs that do remind me of this band around their Whoracle period. I do, however, disagree with anyone saying this is just another carbon copy and a lifeless and generic record. In one way I think these statements, as well as many other that have been put forth to badmouth Reinkaos, in many ways show how the legacy of a band will put future releases to shame. At first I, as many others, was disappointed with the lack of speed and harshness of this record. After a while though, as I came to accept the changes of sound that had been made, and I focused on the record itself and not past releases, I could make up my mind about Reinkaos.
As I mentioned earlier, this is not musical brilliance in the vein of Storm Of The Light's Bane. We do not get epic masterpieces like Thorns Of Crimson Death, or any songs like Soulreaper that just chills you to the bone through it's cold and intense atmosphere. What we do get, however, is a solid metal album. In my opinion this is a record full of solid songs, each of them unique with their own qualities. From the sinister intro Nexion 218, to the closing Maha Kali with an intense vocal delivery by Jon and complete with female chanting, this record delivers melodic and well crafted metal. In between these songs we get the rhytmic and crunchy riffs of Beyond The Horizon, incredibly catchy numbers like Starless Aeon, and melodic beauty in the instrumental title track. Not to forget a song like Black Dragon, which reminds me of traditional heavy metal, and a song that thanks to it's powerful vocals and melodies, hardly ever fails to send shivers down my spine.
Speaking of the vocals, they sound as good as ever. Jon has really put his spirit into this record, and to me this really shines through in the vocal department. Sure, the lyrics, which deals with subject matters that probably only people practicing anti-cosmic satanism really can relate to on a deeper level, might seem like rubbish to most people. But this is not important. To me what is important is that these are obviously important to the writer, and I think this shines through in the powerful vocal delivery of the lyrics. This is also why I disagree that this is a dishonest and generic record. The lyrics and music on this output is in my view more honest than most metal bands out there today, as this is what the members of Dissection believes in and not just some bullshit fantasy lyrics about elfs and warriors.
So why doesn't Reinkaos receive a higher rating as I seem to mostly have good things to say about it? Well, some tracks, like Xeper-I-Set and Internal Fire are not really that great, and sometimes I tend to skip these. Especially Xeper-I-Set does to me sound kind of lifeless and boring, the way bashers of Reinkaos probably feel about the album as a whole. And some songs, while catchy, does repeat themselves too much for my taste. Despite of this I, strangely enough, never get bored of this record. Many songs have some kind of strange addictive aura to them, and these I can't seem to get tired of.
Reinkaos, is in my opinion a worthy return as well as end of this legendary Swedish band. It might not live up to it's predecessors, but it's a good album in its own right. It's a shame that Dissection will now split up once and for all, but their music will be remembered. Reinkaos not as their crown achievement, but as a good catchy record, that in my opinion received more bashing than it deserved.
First, I'd like to say that I couldn't care less about what this band has done before, I'm only going to review this album for the music alone. And for the music alone, this album ranks very highly for me. Everything on display here is absolutely wonderful. The production is great, crystal clear. The arrangements are simply genius, the album is packed with small details all over the place, and especially the guitars. The guitar work is especially melodic, not so much riff oriented. Very often the guitars will drive the songs with melodies and underlying chords. The drums do not stick out so much, but they have a clear sound and will play the right breaks at the right times. A little synthetic, but it gets the work done. The main focus here is the melodic guitar work, and the powerful vocals. I believe Jon's vocal carry the right intensity for this kind of music. Some of the vocal lines, especially in a lot of the choruses, for example Starless Aeon and Dark Mother Divine, are very catchy in a rhythmic way. If I were to try to pigeonhole this album, I'd say it was a less brutal and slower version of Hypocrisy's last album, Virus. At times it does remind of that album, but I also believe that this album has a force of its own which makes it stick out a bit. Another fact though, there is nothing new under the sun on this album. But its the way its been performed and how it sounds which makes this one stick out. For me, I find this album very enjoyable. I'm going to give this album an 80% because honestly, thats what this album means to me.
The anticipation for the latest Dissection album boasts possibly one of the largest followings and expectation in recent years. Most expecting Dissection to return in a blazing, atmospheric black metal fury although Maha Kali EP should have been ample proof needed to understand the direction Dissection was heading. A change of style was apparent, clearly more Gothenburg oriented with black n roll leanings.
Nexion 218 the introduction to the track doesn't even start so poorly with the acoustic setting but ultimately the first guitar riff explains perfectly my ultimate gripe with this album. The rhythm guitar parts in general are fairly bland and virtually unmemorable whilst the occassional lead sprinkles are great or mostly passable. It would almost seem to this reviewer that Dissection were aiming for a catchy kvlt album? Most of this album instruments, vocals just seems there without very much ferocity that grabs the listeners attention. Acoustic guitars which are often used adding vast amounts of atmosphere and ultimately saving this album at times. Production is not really an issue, drums would go great on a rock album while the bass is non existant.
This reviewer will be the first to admit that to appreciate this album it took a few listens, at first I thought it was laughable. Dissection, coming to an elevator near you.. However, taken from more of a black n roll perspective its fairly catchy and enjoyable. I would recommend to anyone music fans between Gothenburg and black n roll who aren't quick to judge a band because of their previous history to give this a listen and judge for yourself and not be swayed by the seemingly endless negativity.
After Dissection front man Jon Nödtveidt was released from his eight year jail sentence for being convicted of murder, the metal world knew Dissection was back. While being a huge influence on the current metal scene, fans anxiously waited for the new Dissection album that they thought would be another Dissection masterpiece, but they were wrong. With a totally new line-up composed of Tomas Asklund on drums and Sethlans Teitan on guitar, "Reinkaos" shows Dissection have officially fucked up their legacy.
Once the tiny instrumental filler "Nexion 218" ends, "Beyond The Horizon" kicks off the album. The riff is catchy and heavy, yet seems rather dull. By the sound of the riff, it's clear that Dissection has lost all black metal elements and gone pure melodic death. Jon's vocals are powerful and forceful as usual, but that's all "Beyond The Horizon" has going for it. The drumming is remarkably easy with simple bass-snare patterns, the same riff continues for the entire track, and there is even a breakdown. "Beyond The Horizon" is nothing less than a disaster.
"Starless Aeon" is up next, and its nothing better then "Beyond The Horizon." The double bass parts and the opening riff give the song a promising start, but it soon fades into pure crap. The guitars change into a riff that is almost identical with "Beyond The Horizon," and this same riff continues until the song ends.There are leads in here, which are pretty scares throughout the rest of the album, but they are short and boring.
"Black Dragon" is thankfully breathing room from the shit that has previously been displayed. The acoustic intro leads right into Jon's gruff vocals, which soon explodes into an amazing solo and awesome instrumental work. The drums are filled with great double bass work and the mix of the heavy and acoustic guitars really makes "Black Dragon" a standout. The chorus is catchy, the leads are technical, and it's very heavy! "Black Dragon" is the best song on "Reinkaos," by a long shot.
"Dark Mother Divine" is a big step down from "Black Dragon." To my disdain, the riffs are melodic and sound pretty typical to "Beyond The Horizon" and "Starless Aeon." Towards the end of the song, the guitars turn thrashy and goes into a flock of solos. Beside this change toward the end, "Dark Mother Divine" is just another weak track on "Reinkaos."
"Xeper-I-Set" is just awful. Filled with the same lame riffs and drum patterns as before, "Xeper-I-Set" is just another dreadful attempt to try to save this horrendous letdown. "Chaosophia" is just a worthless acoustic instrumental that isn't even worth mentioning, but "God Of Forbidden Light" is! The riffing is much more different then the previous songs; its still melodic, but it does change many times. The backing vocals compliment Jon's vocals very well as they echo every Satanic verse he delivers; the drumming is good as well. The chorus is memorable and Jon's vocals drive "God Of Forbidden Light" to one of the best songs on "Reinkaos."
The title track is an instrumental that sounds somewhat different from the rest of the album. The atmospheric guitars are combined well with the heavy drumming,and the harmonics are dark and piece together nicely. The solo here is pretty technical and atmospheric, which really adds a mellow affect to the song. The guitars change to a slight groovish riff toward the end, which connects smoothly with the solo.
"Internal Fire" falls into the familiar vein of the repetitive melodic riffing that never changes and usual drum patterns that are boring as hell. Once "Internal Fire" finally stops, the album closes "Maha Kali," which contains the similar melodic riffs and drums as before. Toward the end, there is this strange addition of acoustic guitars and female vocals that really don't fill with the mood of the song. The female vocals are rather faint and hard to hear; it is a clever idea to try something new, they just didn't do it very well.
"Reinkaos" is just an accident of an album. I thought after waiting for a decade that Dissection would put something out that would be amazing, but they didn't. With the exception of "Black Dragon,""God Of Forbidden Light" and the title track, this album is awful. "Reinkaos" is so bad, Jon should be thrown back in jail for making such a shitty record. "Reinkaos" is not only a crushing disappointment for all those Dissection fans, it just down right sucks. Save your money and avoid this.
This review was orginally written for: www.Thrashpit.com
First off I must say I'm not too excited about this. I used to enjoy older Dissection and mostly considered "Maha Kali" a joke. Despite that, I'm going to try to keep an open mind and review this objectively.
The first half of intro is somewhat cool, reminding me a bit of the intro of "Anthems To The Welkin At Dusk". The other half has shitty start and stop guitars, shredding every little bit of atmosphere into pieces. After that it goes into Dimmu Borgir mode. Okay, now I'm not excited.
Opener "Beyond The Horizon" kicks in with a riff best described as Arch Enemy-like and repetitive. A lot of influences from Gothenburg are here, mostly mid 90's In Flames in the latter part of the song. There's also some Heavy Metal-era Immortal in here, but not in a positive sense. At about 3 mins there's also a fucking terrible hardcore guitar break.
The other tracks continue in the same fashion. The riffs are virtually identical to the ones in the first track. "Starless Aeon" has an okay acoustic/solo break that at least redeems it from absolute shit to listenable, which is not the case with anything else on this CD. "Maha Kali" might actually be the best song on this CD, and that's fucking scary.
"Black Dragon" lives up to the title. It's quite scary how much this sounds like Edguy with Jon on vocals. "Dark Mother Divine" has another horrible hardcore rhythm that even makes Killswitch Engage sound creative. And the shitfest goes on. There's virtually hundreds of guitar rhythms here that share a common ability to put me to sleep.
It's damn clear that this band has no musical significance left. "Reinkaos" has nothing to do with chaos. It's a very generic record that I wouldn't even have recognized as Dissection without Jon's vocals, who happen to be the only redeeming value on this whole CD.
Dissection was once my favourite band. They released two albums back in the nineties which had a serious impact one me, and partly influenced me to start writing my own music. My own interpretation of Dissection nowadays is that they’ve changed dramatically, but certainly not in the way I had expected. Rather than taking their new style to a whole new kind of level, they simply created a fine atmosphere which by the way really suits the release. Imagine the sonic expression of your absolutely favourite album, and compare that to this. Although this album in a way was doomed before its release, one can’t frankly oversee it because of its assumed reputation. Come on, I honestly think this is the highest score “Reinkaos” is going to get…
First off, forget the classic chilling songs which were featured on their first albums. They couldn’t pull it off now anyway because of the huge line-up change. Nowadays Dissection has nothing to do with the past, and it shouldn’t even be taken into consideration when reviewing the new album, but it’s just too damn hard. In comparison to the other albums, this sounds pretty bleak. It’s not that it would be a bad album in itself; it’s just that with the changes made, they really should’ve changed the bands name. Gone is the speed, atmosphere and the complex patterns which used to make my body twist, but they’ve added something which stops it from being a disaster. See, the new stuff is in a way Gothenburg oriented, but not in a disturbing way. All in all, I’d say it’s quite original. The production isn’t flawless, but tolerable to a firm extent. The thing they’ve accomplished most are the guitars. They sound both heavy and soothing, in a (dare I say?) manner they used to do it back in the days.
The album opens up with “Nexus 218”, an intro from where the actual heaviness all takes form. “Beyond the Horizon” introduces us to the whole new Dissection. This song was not a bad choice to open with. Very weird melodies and heavy-as-fuck guitar-riffs build this up to an almost forced headbanging frenzy. This is one of those songs I’d actually like to see live and just mosh to all night long. While I’ve been scared to hear Nötveidt sing again after all these years, I must admit to liking his vocal abilities, although they’ve mixed it all wrong. It sticks out in the wrong manner, and drowns the instruments behind it. “Starless Aeon” can be heard in the form of a rough mix on the promo they released prior to Reinkaos. Carrying the same spirit as “Beyond the Horizon”, it’s like it was made for my taste. Sadly, the drumming starts to get boring here already, and we’re only on the second actual track. My advice to Tomas Asklund would be to vary his drumming a lot more than he’s done here. It’s often too straight for my taste, but luckily the overall mood saves it from disgracing the whole album. Brice Leclerq, the bassist, has already given up on the band, as he leaved after this recording. What he may have contributed to this I don’t know, cause his playing doesn’t stand out in any way. No, if something, the guitars, and vocals do themselves justice. “Black Dragon” starts off with a mediocre solo guitar, playing a relatively common pattern. It’s the slowest song so far, and doesn’t really deserve it’s place on Reinkaos. “Dark Mother Divine” is even slower, but better. It would be really interesting to know what type of music Jon has listened to over the past years, because you hear influences from almost everything in the metal genre. The influences range from Vader to CKY (the mallcore band from America). This is a bit of a letdown, for with those kind of manipulation the music breathes very little and feels a bit more forced than it has too. Personally I don’t know what the big fuzz about “Xeper-I-Set” is. I find it a mediocre song which is “just there” in the right time, but which loses easily to most other contributions here. May it be fast, or may it be a stereotype, it doesn’t stand out either. “God of Forbidden Light” sounds like your typical Gothenburg song, with the twin guitars leading away the main melody. Still, it’s an interesting part to this chaotic album. A couple of non-interesting tracks ahead, we hear the doomed song “Maha Kali” re-recorded. Not a favourite of mine when it came out as a single two years back, this version at least allows it a fair chance. It hasn’t changed much from it’s original form, but is more down-tuned and has lost the hollow mood which made it really bad in the first place.
The whole crew was replaced for the “rebirth” of the band, but surely you can hear that without knowing it. As mentioned, the fast speed of the times of old is long gone, the overall mood has been altered to not resemble those times at all. It’s a good thing, really, that they didn’t “return to their roots”. As dumb as it might sound, I think they could’ve done a LOT worse going on that pattern again. Hell, I might as well satisfy with a mediocre Gothenburg-influenced album rather than having to be disappointed hearing them trying to surpass their earlier masterworks. The bottom line is that without knowing this is Dissection, I think it would be something the average metalhead would like to listen to more often. I feel very relieved they didn’t return in all glory and released their masterpiece now because those times are gone, as I’m equally glad it didn’t turn out to be a total worthless pile of shit. It won’t go unnoticed by me, as my thoughts of “Reinkaos” lean slightly towards the positive direction. Something in between can be suitable sometimes, and this is a good example.