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Have a blast - 94%

Bent__Canoe, November 24th, 2018

People seem to be close minded to the idea of Dimmu Borgir expanding their sound from their black metal roots. The biggest complaint I hear about Dimmu Borgir is that they “aren’t even black metal”. So? Who the hell cares? As long as the music is still good, then I see no problem. If you just have a preference for black metal, then just don’t listen to Dimmu Borgir’s newer output. So, let’s look at the song without that personal bias.

The song starts off with an exciting keyboard riff that carries on throughout much of the song. Guitars, drums, bass, and vocals soon join. The bass can barely be heard, let’s just get that out of the way, but the rest is great. The drums aren’t the highlight, but they support the song well, and some excellent double bass kick is added in. The harsh vocals in this song are decent, but the vocal highlight on this song are the choir vocals. The chorus, and bridge choir vocal melodies are fantastic, and are accompanied by some great riffing. Their is a slower middle section with some spoken word that I think fits quite well with the song. Then comes more harsh vocals and epic melodic symphonic metal. There is then an excellent guitar solo at the end of the song which ends with one final climax of the song. There is another choir vocal part accompanied by a great keyboard and guitar riff, and then it’s over.

Man, what a ride, I seriously felt like I was on a rollercoaster listening to that. If Dimmu Borgir is going to keep releasing music this good, (the whole Eonian album was great, so they likely will) then I could not care less whether they’ve lost their black metal edge.

I guess I have to review Dimmu Borgir’s live release of “Puritania” since it’s part of this release, but I won’t get into detail. It’s a great symphonic black metal song that I love, and the live version is just as good. It’s a stark contrast to the happier sounding music on “Interdimensonal Summit”, with darker music and more haunting abrasive harsh vocals.

Overall a fantastic release that makes me look forward to any future output from Dimmu Borgir, but PLEASE, if you’re going to review this single, identify your personal taste biases and put them aside and just...enjoy the beautiful music.

Dimmunished returns - 35%

Xyrth, April 11th, 2018

Every once in a while, there comes a band, an album or a song I encounter in my daily exploration of metal and other forms of music, which forces my hand to rate it lower than anything I've rated before. Not a scenario I look up to, but sometimes it's just inevitable. In particular, when you have some expectations, however humble, but the listening experience in question leaves you wishing you had just not given a fuck in the first place. I remember discovering Enthrone Darkness Triumphant at the turn of the century, which made me take interest in the band. Their first couple of releases weren’t that impressive to me, as I had already experienced superior Norwegian black metal in the form of Emperor, Darkthrone, Immortal, Satyricon and Mayhem by then, but I enjoyed their more symphonic, clearly produced quality run starting with their 1997 release all the way to the 2005 re-recording of Stormblåst (which I find vastly superior to the '96 version), which together with the more popular but charismatic Puritanical Euphoric Misanthropia rank as their two top works to my ears.

But, it's been more than a decade now since they've released something even remotely worthwhile. With all the success they had, being such an established act, it just felt extremely awkward that they weren't putting material or touring much in that span. I honestly don't care much for the reasons behind that turmoil, and they've always been a band with a revolving door of members, but the fact that Shagrath is now the main keyboard player speaks volumes of the diminished form with which they now attempt a “glorious” return. While Shagrath is a capable multi-instrumentalist, and a good frontman, he is a major downgrade from Mustiis in the keys department. In any case, the keyboards here have been played by Geir Bratland, the orchestrations and chorus arranged by a regular contributor of the band since 2001, well-respected Norwegian composer Gaute Storås, but composed by Italian Francesco Ferrini, well known for his work with his main band, symphonic tech death mavens Fleshgod Apoclypse. Prolific Polish skin-basher Daray provides percussion, and even the influential Schola Cantrum Choir from Norway steps in with, well, choirs.

Sadly, such a vast number of tip top contributors can't help to make this even remotely worthy. Who cares if this is TRVE Norwegian black metal, symphonic Hollywood metal, blackened electronic Peruvian folk or whatnot. “Interdimensional Summit”, the first single of their soon-to-be-released tenth LP, Eonian, is an utterly vapid composition, that sounds like a pastiche of the cheesier moments of 21st century Nightwish, Therion and a dash of Ghost, mixed with the poppier Dimmu Borgir that took over the band’s direction starting with In Sorte Diaboli and accentuated with Abrahadabra. This tune has virtually no summits. It's too keyboard and symphonic oriented for its own good to be taken seriously or enjoyed, making Epica look kvlt in comparison. The guitars have a Ghost-ish simplicity that almost makes me wanna cry laughing, given how complete Galder is as a guitar player. His solo is the least bad aspect of the song, starting at the 3:35 mark (and the guy's funny to look at, in the video and live). That's why I'm more excited about a future Old Man's Child album than Eonian. Shagrath's vocals are ok I guess, nothing noteworthy there, but the added chamber chorus are again too annoying. Perhaps it is the fact that I've been desperately trying to get Therion's Beloved Antichrist, something that hasn't happened yet, and after multiple listens I've become immune to enjoying those type of chorus for the time being.

But the most disruptive element to this song success is its weird changes of sections. Are they trying to be… prog? Cool? Interesting? They achieve none of the above. Changes of pace, when done wrong, are a very potent detriment to song structure. That's the bane of many prog and technical bands, but when a mainstream sounding band attempts that, it's much, much worse. And here, they're just awful, starting with that calm breakdown at 1:28, when Shagrath starts a narration. Too soon into the tune, bro, too soon! Totally kills whatever build up the song had previously started. Then, at 2:26 the song resumes faster activity, but the change is totally laughable thank to those ridiculously sounding keyboards. At 2:52, the track changes again into the mid-paced bridge section, then the chorus section, then Galder's solo, then again the chorus and… it's over, thank Dio. The live rendition of "Puritanica" is cute, but they've released like 10 versions of it in other singles, Special Editions and whatnot. How about "Mourning Palace", or something more obscure or less used like "Alt Lys Er Svunnet Hen"?

“Interdimensional Summit” is such a disappointment in so many ways. For the casual metal fan, I figure this track will end up entering one ear and leaving the other without much impact, and I can certainly imagine what it represents for older, more passionate Dimmu Borgir fans that where expecting a return to form after a 8-year hiatus and longer without releasing something memorable. I don't see many people being excited for Eonian, given how appalling this single and “Council of Wolves and Snakes” turned out. I can safely prophesize several reviews with less than 50% for that one. Perhaps fans of Ghost, or other 'metallic' pop acts might find some amusement here, but personally I've heard enough Dimmu Borgir for the time being. Unless Eonian turns out a major surprise, I think I'll skip that one.

So this is what we get after years of waiting? - 9%

Troodon_metallicus, March 26th, 2018

I enjoyed Death Cult Armageddon. I cannot say the same for In Sorte Diaboli and Abrahadabra, but those two albums sure beat the crap out of this single. Let’s get this over with.

We know Dimmu Borgir has been combining black metal with symphonic elements for a long time, but it’s also true that the black metal elements have been getting less and less present, so much that Dimmu Borgir cannot even be considered actual black metal anymore. The guitars are beyond uninspired and are in many places hard to hear due to the pompous and ill-fitting orchestration. The drums can at least be heard at all times, but they do nothing of substance. There’s nothing to say about the bass except that it cannot be heard.

What can I say about Shagrath’s vocals that hasn’t been said already? Well, he sounds like he’s been thinking to himself ‘I’m getting too old for this shit’ after getting up too early. Seriously, whereas he used to sound ferocious, now he sounds bored and maybe grumpy, but certainly not scary. Well, at least he’s not Tommy Wiseau of black metal yet; now THAT would have me worried. As it stands now, all in all, I’m not impressed in the slightest. On top of that, the pointless choir tends to cover his vocals; in fact, there are times when I cannot hear Shagrath at all due to the choir.

There is one more track on this EP (but why they called this an EP is something I fail to get), a live rendition of Puritania. Sure, it’s better than the title track, but is ultimately pointless, nothing but filler. A filler that’s not half-baked, but still filler. Back to the naming issue, two songs do not make an EP, they make a single. Dream Theater may be able to get away with making a two-track EP (theoretically speaking, of course), but I cannot say the same for Dimmu Borgir.

What really annoys me, though, is the fact that Interdimensional Summit, or the idea for it, was recorded years ago. So much time and Dimmu Borgir didn’t do anything worthwhile with it?! Anything?! How lazy can you get?! In fact, I’ll deliberately take this line out of whatever little hazy context there is:

The more you see
The less it makes sense

Yeah, the more I gave this song a listen, and the more I dug into the fact that this was conceived years ago, the less sense it makes!

Interdimensional Summit is like a dump you took behind a bush when you were drunk and then forgot about, but later stumbled upon it again even more drunk and come up with a ‘bright’ idea to use that shit for something. At least I’d like to pretend that’s the case. If the rest of the upcoming album is going to be anything like this, then I’m not looking forward to it. Luckily, there are many other black metal albums worth a listen.

Nothing Unusual Brought to the Table - 45%

EvilAllen, February 25th, 2018

I haven't written a review in a little while, so I figured I could conjure some motivation to do just that, of course. This is rather a short release by Dimmu, considering this is an EP record, and I don't normally write reviews on such releases (perhaps I should more often), I think this is the first time I have ever written a review that isn't considered to be a full-length record. This'll be a little different for me, but I do plan on being fair and critical, as I normally attempt at least. So, let's conclude with this introduction and move onward, how about it?

Now, this is going to be...slightly tricky for me to review because they're only two tracks on this release, but that's not the tricky part. The tricky part is, the damn release has a studio and a live song, both different songs, naturally. It would be rather odd to have the same song in different manners, if that's all the record had to offer, I mean.

Now, I think a lot of us know by now, Dimmu usually have their share of orchestral-based tracks, sometimes to the point where it's literally controlling the songs. Sometimes Dimmu doesn't even sound like Dimmu. It's like Dimmu are physically and musically possessed by their own musical ideas and it literally consumes the band and they just sound like a church choir or something in that range of explanation. Like, you might as well not even have your original line-up if you're going to be overthrown by pure choir-styled themes. It's hardly metal at all.

Now, I fully understand it's semi-strict for me to do track-by-track reviews, but considering they're only two whole songs on this record and played in an entirely different point-of-view, I think it could make the exception, in complete fairness. The first track on this record is entitled, "Interdimensional Summit", I'd say that's a pretty original-themed, entitled track. It sounds sinister and mysterious-like. The problem is, the musical construction is rather weak. It doesn't sound like much effort or thought was put into it. It reminds me of a joke track, a parody of the band themselves. You have a choir, which overly stands out and overstays it's welcome, giving the main vocalist (I hate having to spell his name) very little vocal play at all. He's basically the backing vocalist in this song, while the choir practically leads more than half the song, in it's own right. The main riffs and melodies in this song are probably one of my favourite things, but it's not anything to be excited about. It really has a slow, groovy, melodic atmosphere. In fact, to some extent, the entire music construction sounds like something out of a modern, live-action Disney film (excluding the main vocalist's vocals, of course).

For the final track of this release, which is entitled as "Puritania (live)", is basically a filler track. Like, are Dimmu even trying to take themselves seriously anymore? Their performance doesn't bring any form of energy, realistically. I guess after 25 years, plus 8 years of waiting for their upcoming, full-length record (Eonian, which comes out May 4th, 2018), they just seem to care a lot less than they used to. And I don't even think that album will bring any promise either (once it comes out, I mean). It's like the band just don't care anymore. And they haven't cared a whole lot in what kind of music they tend to release, especially in recent years. They're not exactly a "fan-favourite", even if they're from Norway. I think it's time for Dimmu to throw in the towel or just find a complete new line-up, except the vocalist, I can at least respect him since he literally is the band's image.

I'll probably review their new album once it comes out later in the year, but that doesn't mean I'll do it right away, it could take awhile before I even feel interested, especially at this rate. I just don't feel they're even trying to be creative anymore. The band have gotten really, really...and I mean REALLY lazy. Hell, their hit song from 2010, named "Gateways", really proves it. At best, it's decent...AT BEST!

I watched the band's music video, regarding "Interdimensional Summit", and this is a small section of what I had to criticize about the damn music video (on social media, in the comment section, Facebook), word-for-word, "Anyways, the guy on the guitar, the one smiling, he must have fucking loved eating neckbone as a kid, because his fucking neck is forcibly compressed to his shoulder and he's smiling uncontrollably, as if he has a bladder infection, like...relax buddy, it's just a semi-painful song, you know?". I thought that would be fairly appropriate to say, based on the very goofy performance by the one band member, everyone else who performed in the music video at least looked serious.

All-and-all... I really don't think this release brings anything special to the table and will just end up being your typical, everyday Dimmu Borgir, from now on. They're not learning to adapt and mature their sound. They're hopeless in creativity and picking the wrong structures to form anything bold. I wouldn't be too proud being them, especially now.

It bridges dimensions alright. - 70%

hells_unicorn, February 24th, 2018
Written based on this version: 2018, 7" vinyl, Nuclear Blast (Limited edition, 4 colours)

Expectation can be the greatest enemy of harmony between a band and its fans, and this adversary gets something akin to a massive steroid injection when upwards of eight years is put between a new offering and its predecessor. Though not the first outfit to take their sweet time breaking an extended period of silence between studio LPs, Dimmu Borgir seem to be taking the dual risk of crossing a stylistic Rubicon in promoting their tenth full length effort Eonian after nearly a decade long hiatus. It has been long stipulated that many of the founding members of the Scandinavian wing of the 2nd wave of black metal have veered so far from the original sound of the early to mid 1990s aesthetic that they have all but abandoned the sub-genre completely, and the promotional single in an EP package Interdimensional Summit may well be the most blatant example of making this point set to music thus far.

Naturally this outfit has always been on the smoother side of the black metal spectrum given their affinity to the symphonic strain of the style pioneered by Emperor, but the priority of instrumentation definitely points towards the symphonic gloss triumphing over the blackened core that has been less and less apparent since the release of Spiritual Black Dimensions. In keeping with this, the massive orchestral pomp and epic choral backdrop racing to the foreground seemed an inevitable consequence, though it has been mixed with a mid-paced grooving approach that many have rightly identified as a Nightwish-like shtick. The principle guitar riff is all but a dead-ringer for something that Emppu Vuorinen would employ on one of said band's darker numbers following the exodus of Tarja from the fold, and even the more dissonant chords that accompany Shagrath's sepulchral mutterings during the verse section have a restrained character to them that fits with the mid-paced marching feel of the song.

Though a sizable departure on many fronts, this EP's title song is not without some degree of precedent in Dimmu's history, and the band seems to have deliberately sought to make that point in their selection of this release's b-side. Presented in a well-captured live offering, "Puritania" presents a token slower and more accessible side of this band's sound that dates back a good 17 years, all but predicting the sort of diabolical symphonic march that Kamelot would employ on their opening song on The Black Halo. It's a cautionary reminder to a number of black metal purists that seem to have their panties in a knot over this release's title song that one needs to go back to the mid 1990s to find this band in anything resembling a low-fi, true black aesthetic. This isn't to say that the resulting mix of sounds found here is lacking in darkness, but it comes across as more of a melodic death meets symphonic power mode of darkness that is more readily associated with mid 2000s Finland rather than mid 1990s Norway.

As with all music, historical precedence and stylistic quirks are secondary concerns when asking oneself whether the song in question is actually entertaining. This question is answered mostly in the affirmative, though its short and predictable structure does work against it to a fair degree when going back for repeated listens. All parties involved pull their weight to a sufficient extent, but the only thing that really stands out and grabs the listener aside from the massive symphonic bombast is Galder's lead guitar work, which has a cool and calculating Iron Maiden sense of melody and flair that mirrors some of the better melodic death solos to come out of the Gothenburg scene. If the upcoming album manages to preserve enough of the machine gun drumming and frenzied abyssal riff work of previous offerings while also giving Galder numerous occasions to work this sort of lead guitar magic, Eonian may prove to be the best offering out of this band since Spiritual Black Dimensions, though this song on its own is more along the lines of making the cut rather than breaking the mold.

Deathstars meets Nightwish in a nutshell - 80%

kluseba, February 24th, 2018
Written based on this version: 2018, 7" vinyl, Nuclear Blast (Limited edition, 4 colours)

Dimmu Borgir made itself a whole lot of opponents with the release of this first new song in eight years. It's easy to understand why. When the song opened with its industrial metal riffs and dominant keyboard sounds, I immediately had to think about Deathstars. This comparisons fits rather well. Just like that band consists of band members who formerly played in Scandinavian extreme metal bands and went for a more accessible, mellow and melodic approach, Dimmu Borgir can't be categorized as black metal band anymore and is probably best described as symphonic metal these days. Several extreme metal bands have gone the same way like Amorphis and Therion and it usually was for the better. And if we're honest to ourselves, this change in style hardly comes as a surprise. The last Dimmu Borgir records had become progressively more melodic and symphonic. The collaboration with the Norwegian Radio Orchestra and Choir was another step in this direction. If Interdimensional Summit is an indicator for the next studio album Eonian, then it is indeed a logical successor to Abrahadabra.

After the symphonic overture with industrial guitar riffs, the song gets more melodic and epic. The choirs are uplifting, supported by melodic guitar riffs and a slow but dynamic instrumental middle section that recalls heavy and even power metal elements. The choirs are catchy, the riffs in the verses are simple yet memorable and the guitar solo is heartwarming. All these elements recall Nightwish at its very best. There are only two minor elements that recall Dimmu Borgir's original style slightly. Firstly, there are very few harsh vocals that rather have a dramatic effect in this cinematic tune and don't truly dominate the song as they are often supported by lushly produced choirs. Secondly, the lyrical topic is right down Dimmu Borgir's alley dealing with the dark side of our universe.

Interdimensional Summit is quite entertaining and comes around with a few solid ideas that make the four and a half minutes go by much faster than they actually are. Overall, I would describe the song as symphonic metal with minor industrial metal elements in the guitar work that is much more grounded than the powerful orchestras and choirs. This song has a strong cinematic touch and could come from a vivid musical or opera. The track is a logical consequence of the band's last record and cooperations with professional choirs and orchestras for live shows. Despite strong criticism from fans, the band takes another step forward without any hesitation and will know commercial acclaim since a lot of people who don't listen to extreme metal will discover the band's new side.

While my overall impression of the new song is positive, there are obviously also some minor negative elements. The vocals should be produced a little bit rawer and should have a greater impact in the song. They could contrast the melodic musicianship even more and make for a more dynamic listening experience. Another problem is the rhythm section in this song that plays it too safely. Dimmu Borgir is known for quite dynamic rhythm changes with pitiless bass riffs and infernal blast beat sections. Those are completely missing here and especially the bass guitar is too distant in the mixture which is a shame because there seem to be a few promising bass sounds in the verses. I'm all for the band going on with its symphonic metal approach but it shouldn't overload its sound with choirs and orchestras and still let their basic instruments shine through.

On a sidenote, this release also includes a live version of Puritania that also relies on domineering symphonic elements and a gripping gothic atmosphere. The fans are audible from time to time but the execution of the instrumental work, orchestral elements and sound samples is so precise that it almost doesn't sound like a live song. I would have liked this song to be more energetic and less accurate. The production of this song is quite lush but sounds a little bit distant. Listening to this version of Puritania makes me think that it doesn't sound that far away from Interdimensional Summit which proves that this is the sound Dimmu Borgir is going for right now.

Fans of Dimmu Borgir's early years will have to accept the fact that the band of that era is forever gone. They will obviously dislike this song with conviction. Anything else wouldn't make sense. Those who liked the last three releases might still appreciate what lies ahead. Overall, this song is though more interesting for fans of gothic, industrial and symphonic metal. Interdimensional Summit is basically Deathstars meets Nightwish in a nutshell. I like it and hope the band continues doing what it likes.


prometeus, February 24th, 2018

If this piece of shit doesn't sound like a cash grab, then I don't know what will! First of all, let me point you out the fact that the main riff, the keyboard riff, is about five years old and was composed using a drum program with basic beats and it stayed like that during this long hiatus. For five fucking years, it seems that the band did not exist, then just entered in the studio with some unfinished ideas, hired Gaute Storas to arrange the choir parts, and made Daray probably one of the most expensive metronomes on the planet.

Before I dwell in the song itself, I am a Dimmu Borgir fan, but I don't have to chew everything they spit at me. As with every product delivered by any favorite brand, I choose what I like from it and what to avoid. Truth of the matter, I was excited for Dimmu to release a new record, as eight long years are just too much from a band that got me into metal, and then, black metal. Just yesterday, I listened SBD and PEM in parallel with this song and it was painfully obvious that the guys from about 20 years ago are just dead... There is no more edge, there is no more intensity, there are no more twisted tempo changes, dynamics or tone changes, schizophrenic breakdowns or arrogant/elitist, purely Satanic messages. It's just something for non-metal fans to grasp if they are in an angsty, teenage phase, but only that.

So, the main keyboard riff doesn't go anywhere, it is just slightly and poorly developed by the guitars, i you can hear them properly, an it might stay inside your head, at least until when you hear another Dimmu song. And speaking of that, this song reminds me, structurally and somewhat teoretically, of Masses of a New Messiah, the extra song from SBD. That song was driven by a main keyboard riff, had about the same guitar ideas of developments, breakdowns, transitions, but it did not make it in the final album. Because it was inferior to the rest of songs - all of them; but boy, does it blow the new crap out of the way!

Now, I realize that, speaking of leftovers, it doesn't seem a coincidence Puritania is here. May I remind you that this song was a scraping decision during the PEM studio sessions, where some keyboard ideas were thrown in together with some industrial riffs and beats and some misanthropic lyrics. The live rendition I presume is from the recent DVD they put out... Why is it so frustrating to see your idols promoting their leftovers?! Do they not care to have their best out anymore?! Is is that hard for them to survive on music today?! I doubt that, seriously!

Before I end this in terrible disappointment, it's also awful that they had to hide their flaws with huge choirs and desperately loud vocals. Shagrath is ISD level, barely, with tired vocals and a less edgy performance. The choirs do have their moment, but if the song would have been developed since 2013, instead of staying basically the same since then, and just as a jam session tune, things could have been hell of a lot better. What ifs...

Fuck them with this one! I will try to hear their full length, but I think my idols will remain just a history note, somewhere in time. There are better bands out there, with much more ethical and passionate musicians, and there is just better music out there. Fuck, I need a drink now!

Symphonic Metal? Yes! Black Metal? FUCK NO! - 7%

Gornot, February 23rd, 2018

After eight goddamn years of having to be more or (mostly) less satisfied with Abrahadabra, Dimmu Borgir finally released something new for me to hear. And oh, boy, is it a mouthful... of absolute shit!

Listen, I will openly admit that I am a complete sucker for almost anything symphonic - from something as simple as Rammstein's "Mein Herz Brent" melody to extremely satisfying orchestrations of Fleshgod Apocalypse's "The Fool" (to only name a couple) and literally anything in between - but despite finding "Abrahadabra" generally more satisfying than their previous full-length release, Dimmu Borgir seem to have completely missed the mark of what symphonic elements of black metal should entail.

This EP (no idea why they called it an EP since there's literally just one new fucking song and a random live rendition of a much better song from their catalogue) generally sounds like the band aimed it to sound more or less exactly the same as their last album, then stumbled pissed drunk into the studio one night and up'd the volume of the choir and orchestra by 50% for shits and giggles. The introductory melody of this "Intersphaghetti Sauce" thing that's supposed to establish a level of maturity in writing parts for an orchestra that blend with a metal band and cement the band's ability to blend those traditional orchestrations with something dark and evil sounds more like something a 13-year old would write for his first metal band (that goes absolutely nowhere, of course) thinking it was the best thing since celebrity sideboobs.

Dimmu Borgir haven't been all that bad with orchestral arrangements in the past ("Gateways", "Progenies of the Great Apocalypse"), but this is just pathetic beyond any reasoning and common sense. While "Abrahadabra" at least had a good balance between the band and accompanying elements, "Interlostmysocks Somewhere" diminishes literally any effort to let the band breathe and be creative by drowning them out of the mix during key components and passages of the shitty, shitty song - not to mention that the song itself is way too fucking slow, even by Dimmu Borgir standards. There is absolutely nothing interesting to hear here - the lyrics suck, the choir overpowers Shagrath's vocals, the guitars either follow the path laid out by that dreadfully boring main melody, or just drudge along like they're doing a soundcheck and have decided to fuck around instead of actually playing something.

When the orchestra is not front and center (skip to 2:21) we get some awkwardly fucking gay keyboard plugin effect that sounds like something Mechina farts out in their sleep (have you heard of Mechina? Go listen to that, cause they're certainly more dark, heavy and exhilarating than this garbage, despite being generally - djent) - and this is generally the feel you get from listening to this EP - the more you get to hear some of the elements of the song, a couple of hooks (only one being actually good) and twists, you inevitably come to realize that literally any band could do a much, much better job.

To sum it up, Dimmu Borgir's latest effort is - quite literally - the act of beating a dead horse in hopes of getting one last kick out of it before it becomes sausage. It's uninteresting, uninspiring, terribly written, badly mixed, and ultimately boring as fuck! 90% of the song's elements are something any reasonable metal band (black or not) would be absolutely embarrassed to admit they ever actually wrote down, let alone recorded and released,

Goddammit, I was so excited and pumped for a new Dimmu Borgir album this year - now I feel like going to a church to pray just so I never have to end up in a situation where I have to listen through the whole thing.