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Averagely exceptional - 70%

we hope you die, January 16th, 2019

To the layperson, blackened death metal may look like a tagline too far. But even a casual sampling of artists tasked with playing this style should make one see the light (or the black). Take the ear candy of melodic death metal, the euphoria or Iron Maiden, add a smattering of gothic melodrama to the riffs, lyrics, and vocals, and combine this with an excess of tremolo strumming, and you get some way to encapsulating this style. Or at least how it differs from either black or death metal.

Sweden’s Dissection need no introduction. Mired in controversy and eventually ritual suicide, they are responsible for two of the best known and most universally loved Swedish metal albums going. The first of these, 1993’s ‘The Somberlain’, tends to live in the shadows of the follow up ‘Storm of Light’s Bane’ (1995); and I for one have always been conflicted about which is the superior release. The heights of the first half of ‘The Somberlain’ may be higher, but it is the less consistent release.

‘The Somberlain’ boasts some heavy weight metal anthems, broken up by minimalist baroque acoustic interludes that perfectly break down the album into bitesize chunks. The guitar tone for the metal tracks is sharp and clear enough to bring out the complexity of the twin guitar leads. The drums however, at least the snare drum, is too tinny for music of this pace and intensity. The playing is creative and competent, but the snare clashes with the sharpness of the guitars which means the latter is at times lost in the middle, especially during the faster passages. An attempt has been made to compensate for this by lathering the snare with reverb, which only serves to draw yet more undue attention to it. Vocals are a standard mid-range rasp that allow the lyrics to carry forward without distracting from the music.

However, the music is captivating enough to soar above such small quibbles over production. After the massive opener and title track the album slows somewhat, and disappointingly seems to lose momentum. There are plenty of decent riffs and leads to sink your teeth into certainly, but they are trapped amongst too many off-the-shelf metal riffs that are ultimately forgettable. I hesitate to call them filler, because Dissection set the bar so high for the first third of ‘The Somberlain’ that by comparison tracks like ‘Frozen’ and ‘In the Cold Winds of Nowhere’ just cannot compete. It must also be said that by the second half of the album that snare sound becomes tiresome. It would work on a harsher album, but melody and layered composition are the aim of the game here, and anything not in service of this is an unwanted distraction. It would be unfair to say that this is a front-heavy album and all else is filler however. There are many riffs to love scattered throughout and its place in history is well earned.

But this style is capable of so much more. I do not resent Dissection’s fame, as a popular take on an extreme metal style they played it very well. They also mastered the art of consistency on their legendary follow-up ‘Storm of Light’s Bane’. It’s just that when it comes to blackened death metal, underneath the surface there were many more artists, perhaps with less exciting album titles, that just played it straight up better. See Sacrementum, Dawn, and Kvist for examples.

Originally published at Hate Meditations

Somber - 83%

Felix 1666, April 28th, 2018
Written based on this version: 1993, CD, No Fashion Records

No doubt, the world has seen a lot of sick minds - and Jon Nödtveidt belonged to the prime examples of this species. Usually, I put a "R.I.P." behind the name of a dead musician, but I am not quite sure whether Nödtveidt ever wanted to rest in peace. Guess he was just seeking another cosmos where he could bring his entire destructive energy to life. I do not know exactly whether he has found this place, but I am sure that his music is still relevant for legions of metal fans and, even more remarkable, thousands of genre musicians. Dissection have left a highly influential legacy which consists of two parts, "The Somberlain" and "Storm of the Light's Bane". The rest is not worth mentioning, at least from my point of view. Therefore, I am happy that this review deals with the debut of the Swedish legend.

Honestly, I am not totally convinced of "The Somberlain". It is no perfect album. Nevertheless, it holds some more or less perfect songs. The epic double strike at the beginning boasts with ingenious designs, fantastic sections full of fury, great melodies and a massive dose of flawlessly integrated breaks and tempo changes. The falsetto of King Quartz is missing, but the atmosphere of the songs matches the artwork which lies in close proximity to that of "Abigail". "Hey coachman, which road do you take?" - "Dear guest, this route will lead us directly into everlasting perdition." - "Thanks a lot, I just wanted to know it."

But neither "Black Horizons" nor the title track marks the absolute climax. Well hidden on the eighth position, "In the Cold Winds of Nowhere" sends shivers down my spine and a layer of ice covers my skin immediately. Immortal have written some great and icy tracks, but even if Demonaz stays overnight in his top performance fridge, he will not achieve the level of coldness that these winds create. By far not. The main riffing seems to be the melting pot of all Dissection-compatible feelings. It expresses stress, desperation, mercilessness and negativity in abundance. Furthermore, it illustrates the murderously effective guitar sound of the album and the speedy instrumental part adds a strict and straight component to the song. Although this classic is more compact than its big brothers at the beginning of the running order, it evokes the same massive amount of emotions and becomes a blessing and a curse at the same time. The remaining tracks stand in its shadow. And I am talking about the regular tracks, not about the pretty useless instrumental, acoustic guitar intermezzos.

The regular songs show really good facets of pretty melodic death / black metal, but they fail to score with ingenious elements. The tempo changes work and give the whole album a dynamic touch. Nobody can deny that the young Nödtveidt and his co-authors had admirable compositional skills. Therefore, the guitars create interesting, atmospheric riffs in abundance, but the somewhat complicated songs lack accessibility, at least to a certain degree. In comparison with its successor, it gets clear that Dissection had (minimal) difficulties to come directly to the point at this stage of their career. I do not ask for less complex song structures, but "Storm of the Light's Bane" shines with a higher effectiveness. Anyway, in order to bring this review to a correct end, I must say that the well, but not superb produced "The Somberlain" is a really strong album and its impact is still being felt. You say I am too critical? Well, maybe I also belong to the sick minds I have mentioned in the first paragraph.

High fidelity black metal? What heresy is this? - 88%

TrooperEd, March 25th, 2018
Written based on this version: 2004, CD, Black Lodge Records

Through the mists of time it was decided amongst the fans of black metal that the sub-genre had to be lo fidelity for the sake of atmosphere. No one really questioned it that much, it was just what you did. Then along come these Swedes (the same nationality as General Quorthon might I add) who decide to hell with that, we're gonna make black metal that sounds crisp, clear and given the production values of a Judas Priest record. The really fucked up thing is, it worked!

The common narrative amongst so called "true" black metal fans is while The Somberlain is the classic of Dissection's career whereas Storm of the Light's Bane is trying too hard to sound mainstream. Never mind the fact that SotLB is about on average 80bpm faster than this one, but this album is catchier. Honestly, The Somberlain is the more rock & roll of the two (and there is nothing wrong with that whatsoever).

The sound here can best be described as cold. Not quite as cold as say, At The Heart of Winter, which has the ambience of someone leaving the door wide open of a giant crystal palace, but you will experience hypothermia when listening to this. Some of the people who foolishly believe this is death metal think this is a placebo effect brought about but the dark blue tinted album cover. My response is that album cover was chosen as part of the artistic statement. Jon wanted to make black metal, not flood the death metal market even more than it was in 1993.

Highlights: Black Horizons is a fantastic opener and a very strong candidate for the best Dissection song ever. At 4:16 we have what can only be described as a black metal break. Yes, a black metal breakdown, you read that correctly. Granted this is Dissection we're talking about, so it is a brief acoustic moment before the song kicks back in, but it is brief enough for you to adjust your neck for more headbanging rather than wonder why traffic has stopped. Things get even weirder with a longer acoustic breakdown which is punctuated by, of all things, a King Diamond high note followed by some exquisite vocal harmonies. When you really look at it, quite a few rules of black metal are being broken here, but it doesn't matter because everything that happens here simply rocks. The title track has a morbidly sublime opening harmony that gives way to some half-Kreator, half-Tormentor blackened thrash insanity. That gives way to a crimson aurora buffet of Iron Maiden-esque doom (things X-Factor should have sounded like ex. #1241) around 2:26. Then THAT gives way to the frightening return of Mille Petrozza's world famous Riot of Violence bandsaw at 3:35 to split James Bond and Goldfinger's giant golden slab in half. Great shit all around. The best guest spot award goes to whoever laid down that sublime Super Nintendo sounding keyboard solo in Mistress of the Bleeding Sorrow. Some instruments are just tonally perfect, and that moment is kissing the fingers at Louis restaurant in the Bronx after having the veal.

Every black metal band who decided they were tired of atmospheric trappings and wanted to make something with a sound that would blow your speakers owes a war crime bearer bond to The Somberlain. Far Away From The Sun, Darkside, At The Heart of Winter, Sons of Northern Darkness, none of those would be able to exude the haunted mansion constructed from crystal shard madness without this album. Of course, the music is great too, so you should buy it for that reason.

A truly sophisticated work of lustrous black art - 96%

Myrkrarfar, May 9th, 2017

In the early 90’s Swedish death metal was at its popular peak. Entombed, Grave, Dismember, Unleashed and co were pounding out slabs of thick and heavy demise for the ears of their minions. All was well in the land of the dalahäst, in other words. This gory scene laid the foundation for the genre’s evolution into even darker realms, into spheres of sophistication and the occult, into haunting melodies and epic soundscapes, into the magnificent world of the likes of Unanimated, Necrophobic, Decameron and of course the almighty Dissection. “The Somberlain”, D’s first full-length, was one of the first and is still one of the best examples of quality melodious Swedish death metal with a blacker atmosphere than the all-out death of the forefathers mentioned at the top. For me this is as much a classic as “Left Hand Path” or “Like an Everflowing Stream” is, as this record took the extreme music scene on a walk along a path never trod before, and it was the first full chapter of the transcendent testament Jon Nödtveidt’s genial abyss of a mind forged and left for us mere mortals to perceive.

Finding a balance between evil thrashing, catchy melodies, Satanic pounding and epic arrangements is not easy. Here it is almost brought to perfection, and most of the songs were written when mastermind Nödtveidt was between 14 and 17 years old! Makes your mind boggle… Most of the songs are hit material deluxe and possess lots and lots of super-quality riffs and melodies. If there ever was blackness which was both evil and beautiful at the same time, it was this disc. Only surpassed by its sequel… The number of amazing guitar riffs and leads thrown on this disc is mind-blowing, not a second goes by without some hook grabbing at you. Everything is well-played, though not mechanically as there is life (death) to the articulation. The only minus comes from the somewhat sloppily played acoustic interludes done by Zwetsloot.

Speaking of sloppily played... Ole Öhman is one of the most untight extreme metal drummers I’ve ever heard, but he’s also one of the most fun to listen to. Lots of creative fills and beats played with passion, though not with much precision – that is, when analyzed today. Back then he was at least average in that regard as well. I have no clue as to how much of a dictator Nödtveidt was on the drum front, but no matter who made up the arrangements, he made them well.

The production is raw. Very raw. Not the heaviest production out there, but that wouldn’t suit Dissection’s music at all anyway. The guitars have a very nasty edge to them, which makes them cut through well in the mix. The bass is muddled somewhere in the background, the snare drum has an OK sound in the middle and the kicks assault you up front together with the vocals, which are very clear and pristine sounding. Jon Nödtveidt has always been one of my favorite extreme metal vocalists. His articulation is unsurpassed and the wicked edge to his screams always conjure up images of evil demons in my head. Here he hadn’t reached his full potential yet, but still easily gets a perfect score. Yes, exactly.

The lyrical themes are strength and ascent to divinity through darkness, despair, and death. Absorb and relinquish your weakness and become the great black flame. It is obvious here already that Jon was enthralled by the afterlife, and his lyrics prophesy his demise. Poetically and passionately written, though somewhat amateurishly at times (keep in mind he was 15-17 years of age while penning these) they still convey his emotions very well. Also to be found are more aggressive anti-Christian calls to war such as “Heaven’s Damnation”:

Watch the sky, the crimson tears of heaven
Fade to black, and welcome the night of all nights

Being the egocentric bastard I am, I’ll quote myself: “If there ever was blackness which was both evil and beautiful at the same time, it was this disc”. The atmosphere on “The Somberlain” is pure evil, divine and blasphemous. This is a milestone not just in death/black metal but in all music, a truly sophisticated work of lustrous black art.

Welcome the eternal night! - 81%

ConorFynes, August 18th, 2015

Storm of the Light's Bane advanced Dissection's sound to a new tier of confidence and intensity. It offered their most memorable songs, and it's definitely the first album I'd refer to a tentative newcomer, should anyone yet remain uninitiated to the band. All the same, I hold The Somberlain as the better of the two 'original' Dissection records. Why? Unlike its more song-based successor, The Somberlain keeps its focus on riffs, despondent, unrelenting, and eerily beautiful. Despite the mythology that's built up around the band, Jon Nödtveidt, and their association with the Temple of the Black Light, the greatest thing about Dissection has always been the guitarwork, which continues to stand out amidst a subsequent horde of sycophantic copycats. The Somberlain is every bit as well-realized as Storm of the Light's Bane, but there's a more consistently piercing urgency in the music here I think was lost when they matured their sound.

To be honest, I've never regarded Dissection with the same exultation as others do, and am still only half-convinced that Storm of the Light's Bane deserves half of the acclaim it gets. All the same, The Somberlain manages to stand out. It's among the few Second Wave albums that would sound as strong released today as it did back then. All of that, keeping in consideration that it had a large hand in starting this genre's melodic subset. Although they hadn't opted for full-blown Iron Maiden harmonies as they did on Storm of the Light's Bane, it's still worthwhile to consider how daring it was for a black metal band to hug so close to metal's melodic traditions. By 1995, black metal was well-established and practically untouchable. But in 1993? The formative turbulence was in full swing, and there was still some lingering concern as to how it might stand apart from other genres. Dissection openly parlays with traditional heavy metal on this album. A shrill falsetto paired with the guitars' mid-paced gallop someways into "Black Horizons" sounds like it may have been drawn from some time balls-deep in the 80s. Even when Dissection are conjuring metal conventions however, there's an unmistakable sense of evil and foreboding. Though it's undeniably polished for its style and especially its era, the album's guitars still sound appropriately cold and raw. The emphasis on relatively straightforward riffmaking does not belie the album's black atmosphere. Despite their youth lack of direct precedents, Dissection did not pull any punches on this one.

Jon Nödtveidt's decade-or-so of musical experience, paired with Dissection's early demos and his tenure in Satanized had resulted in this notorious frontman knowing very well how to put a riff together by the time it came to conjure The Somberlain. Listening to "Black Horizons", it would have been apparent within minutes that this band was onto something different compared to most of their Scandinavian contemporaries. Although the blackened tone is never in question, I'm actually most reminded of Opeth's masterpiece Morningrise. That album struck me as a parade of anxiety-stricken riffs, interspersed with welcome acoustic respites; The Somberlain may be described very similarly. While "Black Horizons", "The Somberlain" and "A Land Forlorn" stand out as excellent tracks, I wouldn't say this album has the same immaculately structured compositions as its predecessor, nothing like "Night's Blood" or "Thorns of Crimson Death" at least. The use of riffs here is less pristinely tactical than it would be, but that's one thing I really like about The Somberlain. Though the album feels imbalanced in the way it offers its best (and longest) eggs all at the start, the music is jam-packed with riffs in a way a more rational songwriter may have done without.

Comparisons between this, and Storm of the Light's Bane are likely to be brought up until the modern world is nuked to extinction, or mankind somehow evolves past the point for subjective argument. Neither option seems probable anytime soon, so I'll leave by saying one isn't necessarily better than the other. The Somberlain's certainly my favourite, and there are less things that overly bug me about it, but I can't help but think Dissection's maturity come their second album was a very good thing. For a notably chaotic individual with an accordingly chaos-based philosophy, Jon Nödtveidt's music grew closer to order with each new release. For a melodic and otherwise straightforward album, The Somberlain actually sounds unpredictable at times. As the relevant philosophy progressed towards ever-darker regions, Nödtveidt's songwriting contrarily grew more rational and centered. As I've said before, that wasn't necessarily a bad thing, but in terms of sheer atmosphere, evocativeness and consistency, no later work from Dissection could surpass the debut.

Best black metal album of all times. - 96%

Hellish_Torture, October 12th, 2014

First of all, keep in mind that, when I talk about “black metal”, I usually refer to the so-called “second wave”, the wave that spawned in Norway thanks to Thorns and Mayhem, and then was diffused worldwide. So, remember that, when I say that “The Somberlain” is the best black metal album ever, I refer to that kind of black metal, excluding all the names of the “first wave” (which I usually label just as “proto-black metal”); some of those names (early Sodom, early Kreator, early Sepultura, Mutilator, Sarcofago, Necrodeath and Venom) overcome any “proper” black metal band. But it doesn’t matter, after all.

So, talking about what I exactly consider to be black metal... Mayhem, Burzum, Darkthrone, Immortal and Emperor are some of the most well-known Norwegian names. But, in the same period when these bands were spreading the Black Cult, someone in Sweden was doing the same thing in a slightly different way: Jon Nödtveidt, an insane and highly skilled old school metal guitarist, after some time spent in a bunch of thrash/death bands, decided to dedicate his musical path to a darker and more evil sound, in opposition to the 90’s death metal trend. Nödtveidt was a huge expert of 80’s metal and had a huge background of thrash bands such as Slayer, Metallica, Possessed, Kreator, Poison, Mefisto, and classic heavy bands such as Mercyful Fate, Witchfinder General and even Iron Maiden, developing a deeper taste about melodies. And this was the main element that brought his band to be superior to any Norwegian act such as Mayhem & co.: a more focused approach on melody, blending it perfectly with that ”evil vibe” that every black metal band wanted to achieve in those years. And so, Dissection was born.

Nödtveidt’s groundbreaking approach to black metal contributed to create a huge legacy of “melodic black/death bands” which followed that style, especially in Sweden, with names such as Sacramentum, Vinterland, Naglfar, Unanimated, Necrophobic and other minor acts. After all, Sweden has always been the fulcrum of “melodic extreme metal” since a few years before, thanks to At the Gates. However, despite the numerous followers/clones, Dissection has always been a unique band, totally apart from the rest. And at the end of 1993, with Dan Swanö’s production and a beautiful Necrolord’s artwork, their debut “The Somberlain” marked the beginning of a new era.

The style of this record is pretty much in a common black metal way: the tempos switch from fast blasting paces (sometimes a bit “thrashier” than usual, for black metal standards) to slow, solemn marches. But, upon this common structure, the guitar work absolutely stands out: Nödtveidt’s genius about monumental melodic constructions is hearable in all its majesty, and every single melody of this album will give you some of the most intense emotions of your life. When the pace is kept fast, like on “Heaven’s Damnation” or the masterful highlight “Black Horizons”, the tremolo riffs show an absurd intensity: they’re definitely more melodic than usual, but they still sound incredibly aggressive and even more ”evil” than what you could expect. And, despite the “melodic” nature of the album, the guitars sound extremely “cold” and “glacial”, reminding you to a desolated, nocturnal Scandinavian landscape buried by snow, and all the tremolo riffage contained on here hits you like a monstrous blizzard, especially during the fast sections: surely, Dan Swanö’s production and Jon’s very high guitar tuning (very reminiscent of old NWOBHM/speed metal) play an important role in this, but most of the merit goes to the genial melodies which permeate each track, intense and complex, yet ”cold” and hypnotic.

This is how melody works in black metal: it doesn’t make it lighter or more accessible to the masses which don’t “get” the nature of the genre; it just empowers it, amplifying the evil atmospheres instead of mitigating them, creating, in its own way, a true masterpiece which reflects perfectly the nature of black metal. And, well, this is why I love so much melodic black metal, when it’s expressed in its maximum form. This mixture of different vibes (epicness, evil, hatred, romanticism, passion, occult/medieval themes, melancholy and, at the same time, “self-exaltation”) is the perfect recipe to obtain the maximum black metal masterpiece. Just hear the intensity of the tremolo riffs put in the refrain of “Black Horizons” and in the fast section of “Frozen”: if you, as a listener, have a particularly “emotional” approach to music, the majesty and the passion of these melodies could even bring tears to your eyes.

But when the pace gets slower, Nödtveidt seems to have even more room to express his genius. Tracks like “Frozen”, “The Somberlain”, “A Land Forlorn”, “In the Cold Winds of Nowhere” or “Mistress of the Bleeding Sorrow” feature some of the greatest ideas of the album: on the elegant, mid-paced marches (modern Dimmu Borgir, take note now!), Jon places some beautiful, epic slow riffs (which are particularly remarkable on “Frozen”) and some tremolo melodies which, on their own, are even more beautiful than those inserted over the fast parts. If you listen to “Mistress of the Bleeding Sorrow” or the title-track, you will hear some of the most sorrowful and passionate tremolo riffs of the whole record.

There is also a massive solo work (pretty atypical for black metal standards) and sometimes, especially in the intros of some songs, Jon places some guitar phrasings (in a typical “Swedish metal” fashion) which sound extremely suffused and atmospheric: the intro of “Frozen” has an extremely occult feel, that of “In the Cold Winds of Nowhere” sounds pretty sinister (making you feel “disoriented”, keeping faith to the title of the song), while the phrasings of “The Grief Prophecy” are just hauntingly beautiful. On “Mistress of the Bleeding Sorrow”, “A Land Forlorn” and the title-track, you will even find some hidden melodies which have a slightly “psychedelic” feel, and give a trippy/hypnotic atmosphere to these compositions. Just to make his work even more masterful, Jon thrown also some acoustic interludes here and there, sometimes during the songs (“Black Horizons”, “Heaven’s Damnation”), sometimes separated (“Crimson Towers”, “Into Infinite Obscurity”, “Feathers Fell”): they have a very melancholic feel and sound abundantly inspired to neoclassical stuff, with wonderful results. These acoustic parts work complementary to the black metal ones, fitting perfectly in the context and empowering the “romantic” component of the album, still far from sounding “cheesy” even to black metal purists.

When I first heard this album, I was in a very odd period of my life, that period when I began getting deeper into black metal. I already used to love Mayhem and Burzum and knew some Immortal albums since long time, but nothing more. That period was when my interest for black metal truly began, discovering some of the most famous names of the scene such as Darkthrone, Emperor, Dark Funeral, Impaled Nazarene, Gorgoroth, Behemoth, Dimmu Borgir, Cradle of Filth (as much as they can be considered black metal, but whatever), and a bunch of more random modern acts like Peste Noire. Then, I happened to find this band, but I was totally unaware of what I was gonna find on “The Somberlain”. And, when I first heard “Black Horizons”, it totally blew me away, like no other black metal band did before, and still nowadays it’s my favourite black metal song of all times. Those intense, passionate tremolo melodies, blended with Jon’s excruciated/tortured screams, are just the best way I could imagine to express dark, occult, evil feelings.

So many people consider “Storm of the Light’s Bane” to be Dissection’s finest album, but I tend to disagree: I adore both albums, but I find “The Somberlain” to be a little bit superior, for its darker nature and its more progressive approach to compositions, and I’m ashamed to notice how this album seems to be almost forgotten in comparison to its successor. I’d say that “Storm of the Light’s Bane” is my second favourite black metal album of all time, and the first position is obviously held by “The Somberlain”, an album that expresses perfectly and flawlessly the essence of the genre.

”I’m the almighty, the one with wisdom wide,
I’m the great shadow and from daylight in my tower I hide!
I’ve seen the abyss and all that lies within...
I’m the great shadow, and I was born in sin!”

Amazing, classic album! - 95%

dismember_marcin, September 17th, 2014

If I was going to say which is my favourite death and black metal scene ever, then surely it is Swedish! Why? Well, the answer is simple: just look at how many amazing, classic bands and albums this country has spawned in past 30 years! It is unbelievable and totally influential. And if I was going to mention which are three or five my favourite and important Swedish bands, then Dissection would surely be among them. It is undisputable how great influence the music of Jon Nödtveidt had on countless bands and that Dissection was responsible for creating something exceptional within the death and black metal scene. It’s one of those names, which you simply must know. So, let’s write some words on the classic debut album of the Swedish band titled “The Somberlain”! Oh yes, this is some fantastic stuff and probably the best thing, which Jon Nödtveidt composed (with great help of other band members of corpse, who on this record were John Zwetsloot, Peter Palmdahl and Ole Öhman).

It is fascinating that so many bands from these early days – and that obviously includes Dissection as well! – had already such a unique, recognisable sound and style already in the demo stages. You play “The Grief Prophecy” or “The Somberlain” and you just know this is Dissection; no other band was playing something alike to them (Necrophobic may have been close sometimes, but they were different anyway… and all those followers like Sacramentum, Dawn or Vinterland were great, but yes, they were followers!), no one else had such songs, which had such unique structures and arrangements. And even the voice of Jon Nödtveidt sounded different! And so damn amazing hehe! Already the first two songs, which open the album are enough to call it a classic, legendary LP! They are “Black Horizon” and “The Somberlain” – surely two best tracks here in my opinion. I just love their melodies combined with aggression and dark atmosphere, harsh vocals and it is simply impressive how built they are. It is not simple verse / chorus type of rock song; there are many fantastic, lengthy instrumental pieces, killer guitar work, which delivers insanely memorable harmonies, plenty awesome riffs, some extra parts played on acoustic guitar… Surely classic heavy metal of such Iron Maiden must have had an influence on building such songs, because it is not a common harsh, simple, primitive black / death metal. But what I especially love about Dissection and “The Somberlain” LP is that it may be melodic and atmospheric in many parts, but it doesn’t forget also about being damn obscure and aggressive. That’s the main strength of Dissection, I think.

So, “Black Horizon” and “The Somberlain” are amazing songs, but obviously the album has more to offer. All in all it is 45 minutes long material and damn, basically every song here is a winner like “Frozen”, “The Grief Prophecy / Shadows over a Lost Kingdom” and “Heaven’s Damnation”! But hey, what’s the point mentioning all these titles, if the whole LP is so killer and high quality? And more so, on top of everything that I mentioned, I also really love the production of “The Somberlain”… and that nice artwork of Necrolord is also a piece of art. All together, this album, just like all similar classic extreme metal records, deserves 100 out of 100, no less!

I must also mention that I was lucky to buy an ultimate vinyl edition of “The Somberlain”, released by The End Records in 2006. And it is simply astonishing, breathtaking release! Why is it called an ultimate edition? Just look at all the bonuses! Great booklet with some huge photos, lyrics and it’s also a double LP. Vinyl number one is the album, but vinyl number two gather many truly essential early Dissection recordings, which are: “The Grief Prophecy” demo 1990, “Into Infinite Obscurity” 7" EP, “Demo 1992” plus some live and rehearsal songs. So yes, it is a ultimate reissue and a perfect collection of the best what Dissection had to offer, especially as those demos and EP sound also fantastic, I especially love “Into Infinite Obscurity” EP, especially “Son of the Mourning”. You can hear how amazingly the music of Dissection was evolving, how it was getting better and better. But the demo and EP also sound fantastic; sure, their production is harsh and crude, but I simply love it! So, if I was going to recommend you buying any version of “The Somberlain” then it would surely be this one, with all these bonus stuff. Ha, killer!!!!

Standout tracks: “Black Horizon”, “The Somberlain”
Final rate: 95/100

Dark the Winter Drew Near - 85%

Nightmare_Reality, August 9th, 2012

Around the time of the release of “The Somberlain,” Sweden was experiencing a massive output of death metal. There were the giants of the genre and there were even more bands releasing demos left and right. Dissection, though, would embrace the darker sounds of black metal and help spawn a whole new wave of terrific bands from the country in Sacramentum, Arckanum, Lord Belial, Vinterland, etc. When metalheads usually discuss which of Dissection’s first two albums are better, it’s usually a pretty split crowd between this one and “Storm of the Light’s Bane,” but both records are worthy of praise for not only their influence, but for how damn good they are.

“The Somberlain” has a dark feel to the music (as do most black metal albums), but the atmosphere on this album is quite different from others. It’s cold, chilling, haunting and absolutely brilliant. A song with the title “Black Horizons” should sound evil, and it does throughout its eight minutes of life. Eight minutes of tempo changes, dark and beautiful melodies, sinister tremolos, acoustic guitars and Nodtveidt’s vicious vocals make for an insanely good song, and album for that matter, as a lot of the songs here contain a lot of the same kind of elements. Every song (not counting the instrumentals) has a fair amount of melody, whether it’s through the tremolo patterns or a soothing melodic solo that pierces through the blistering riffs, Dissection always has just the right amount of melody.

In addition to the cold aura and the melodic tendencies of the band, every other member of the band does their part to perfection. Nodtveidt’s vocals are harsh growls that compliment the bleak backdrop very well. His vocals are also pretty understandable and not just guttural shrieks. The rhythm section on this album is also top-notch, as I was able to find a standout moment on the drumming on every song. I was also able to hear the bass quite fine, as it thumped along or even provided some great fills in the background of the tremolo frenzies. “The Somberlain” proves to be a game-changer for not only the band (who would go on to top this effort with their masterpiece “Storm of the Light’s Bane”), but for the Swedish black metal movement as well. When it comes to getting lost in a flurry of melody and darkness, there just aren’t too many bands out there that can do it better than Dissection and this full-length is usually one the first records I reach for when that time arises.

“Black Horizons”
“The Somberlain”
“Heaven’s Damnation”

Originally written for Nightmare Reality Webzine.

Dissection's finest work - 98%

Karkaton, October 27th, 2008

"The Somberlain" is Dissection's first full-length album, and definitely their best release to date. The production fits the music extremely well, with the mix not sounding too clean, but showcasing a somewhat rawer and “colder” sound. The music is also very different from their older material (Reinkaos, Maha Kali, etc.), being more atmospheric and ‘passionate’, whereas their songs are more straightforward heavy metal/melodic death in their later work. “The Somberlain” is also Dissection’s last full-on black metal release, as “Storm Of The Light’s Bane” introduced the band’s further exploration into melodic death metal territory.

Generally speaking, this is a solid melodic black metal release that exudes a strong heavy metal influence and seems to, in a way, create the outlines of the melodic death metal sound as we know it today. The songs are very diverse and all of them follow a progressive trend quite different to 90’s black metal…That's why "The Somberlain" is so unique and revolutionary - It's different, fresh, and never gets boring or monotonous.

The guitarring on this album is absolutely breathtaking, and reaches a level of sheer melodic perfection on songs such as "Black Horizons" and "The Somberlain". Brilliantly skilled classical guitars are used on the songs "Crimson Towers", "Feathers Fell" and "Into Infinite Obscurity", which are utilized perfectly as they break down the tension that is built up by the intensity of the other songs, and set a tranquil mood for the storms that follow. A more minimalistic, yet skilled approach on the drums by Ole Ohman creates a very dark atmosphere which could not have been done better by the likes of Nick Barker or even Hellhammer himself. Jon's vocals sound flawless and cold as they hit you at full force on every song, proving himself as one of the best black metal vocalists to have ever graced the scene.

The album opens with the 8-minute opus "Black Horizons", which takes you on a fierce nocturnal journey by combining ferocious shredding with vast tempo-changes, acoustic guitars and even an old school, Iron Maiden-type yell in the break of the song. The chorus is extremely catchy, and it will have you singing (growling?) along from the second you hear it. The riffs are some of the best I've ever heard, and are very reminiscent of Dark Tranquility and At The Gates at times.

Another masterpiece is the title track, which mixes harmony and brutatlity at an intense speed with a perfect solo that will leave you weeping for it's sheer beauty. The song really progresses perfectly, with many tempo-changes and differences in the style of the riffs. Some great blasting occurs around the end of the song, and the double-bass work is also top notch. What an epic piece of art!

Tracks like “A Land Forlorn” and “Heaven’s Damnation” feast on great tremolo picking and then evolve into more mid-paced sections, only to break out into mighty, double-bass driven frenzies of old school death metal likeness. Thrashy elements and an acoustic piece on “Heaven’s Damnation” really breaks the mould and sets new boundaries by still maintaining the heavy metal/black metal formula that works so brilliantly throughout the album.

One of Dissection’s trademarks, "Frozen", begins with a build-up of toms, snare and Black Sabbath type riffing only to burst out in a cold verse of melancholic stature. My favourite part of the song is around 2:10 and onward, when a dark formation of riffing breaks out onto an old school black metal sound. A definite anthem.

Dissection also expirement in their song “In The Cold Winds Of Nowhere”. It starts off quite slowly, with a walking riff at a doomy pace and then builds up to a punky tempo quite similair to the trademark Carpathian Forest sound. The chorus is very catchy, and the famous chant “In the cold winds of nowhere!!” makes this a song that completely dominates, both musically and lyrically.

Diversity is further explored in "Misstress Of The Bleeding Sorrow", which is a medley of phases, each complimenting the other. The intro is lead by Ohman, combining amazing double-bass drum patterns with medieval sounding guitar harmonies. A more heavy metal and doom-influenced approached then leads through the first two minutes of the song and then harshly speeds up for a full-on mental assault of tremolo picking and monumental battery. This song is very diverse and is very atmospheric, it creates a genuine mood of darkness, depression and melancholy.

Then there is also “The Grief Prophecy”; the shortest song on the album, and really action-packed and progressive. One of the best riffs ever to this date, which is an extraordinary hybrid of melodic death and heavy metal, slithers it’s way through a slow paced build-up and is executed perfectly. The tempo then changes to the jumpy, fast paced rhythm that has set the trend for most of the album and the song finishes with a tremendous exclamation of demonic growling, battery and riffage.

This album is definitely a classic in metal, and, in my opinion, the essential melodic black metal record to own because of it’s flawless balance between ferocious brutality and melancholic passion.

A Land Forlorn - 100%

Noctir, January 30th, 2008

"The Somberlain" is the first L.P. from Swedish legends, Dissection. It is also one of the first Black Metal albums, from the second wave, that I'd heard. All those many years ago, I was blown away when I initially heard this. The feeling remains anytime I listen to this masterpiece.

Now, it's expected that Metal is supposed to have some connection with darkness; moreso with Black Metal. However, this album possesses an atmosphere so cold and nocturnal that it stands out. At this point, I should also point out that the photograph of Bran Castle in the booklet matches the sound perfectly.

From the first seconds of demonic speech, played in reverse, the dark atmosphere begins to unfold. "Black Horizons" is, perhaps, the best Dissection song ever recorded and features one of the greatest melodies I've ever heard. The song begins at full speed, but then goes through a variety of tempo changes, including an acoustic interlude and clean vocals (courtesy of Dan Swanö) and the mood adjusts accordingly. There is a dark, melancholic vibe running throughout the song, yet Jon Nödtveidt's vocals also express an evil hatred that sounds absolutely sinister. The riffs seem to display a bit of influence from Mayhem which would be appropriate as the album is dedicated to the memory of Euronymous, who had been killed shortly before the release. "Black Horizons" is much like the second song of this classic, in that it is very epic Black Metal.

"The Somberlain" is cold and mournful, while also having its faster moments. The title track is another Dissection classic, and is just as epic as the first. This is music that is best suited for the night. To be even more specific, it belongs to the cold nights of Winter. Some of my earliest memories of listening to this album are of walking deserted streets at night while cold winds seemed to cut right through me, just as razor sharp as the guitar riffs, as the snow blew into my eyes to the point where it almost became difficult to see. The production here is great; neither too good nor too bad. It's good enough to appreciate the music and still raw enough to give it the proper feeling.

"Crimson Towers" is a short acoustic instrumental. Despite being short, the melody is introspective and makes one think while also giving a bit of a breather, following the two lengthy songs that began the album.

More beautiful guitar work is displayed as "A Land Forlorn" begins. Again, it's easy to see that the members of Dissection have their roots deep in the old metal scene and they use their knowledge to craft brilliant works of dark art. There are fast tremolo riffs, blast beats but also slower parts that give a hint of a possible Candlemass influence. This doomy side of Dissection appears elsewhere on the album, and fits in seamlessly. This song, as the others, is very memorable and stands on its own.

I really must wonder why people label this as Death Metal, or even Blackened Death Metal, at times as I just don't see it. I've listened to my fair share of Death Metal over the years and I must admit to not being expert enough to identify what exactly keeps this from being conidered pure Black Metal. As far as I'm concerned, this is complete nonsense. "The Somberlain" forever reigns alongside (and perhaps beyond) such classics as "De Mysteriis Dom Sathanas" as the best examples of Scandinavian Black Metal. "Heaven's Damnation" and "Frozen" are brilliant examples of the genius of the mighty Dissection. Also, it doesn't get more nocturnal than the lyrics of the latter, which is one of my favorite tracks on the album. They really exhibit a great sense of melody and a grasp of the old school mentality here.

Again, the evil onslaught is divided into section with a second instrumental piece. Few bands did this type of thing anywhere near as well as this one. "Into Infinite Obscurity" leads into another great song, "In the Cold Winds of Nowhere" which begins with a doomier riff before getting up to half speed. After a couple minutes, another great melody is unleashed. The album is filled with them, as well as great solos. These solos, unlike contemporary Death Metal solos, actually fit into the song and mean something rather than being done for the sake of getting it out of the way. Again, whether the songs are eight minutes in length or five, the all have a very epic nature about them.

"The Grief Prophecy" begins with another slow and melodic intro. The sound is much more crisp than on the demo version. Again, Jon's vocals really shine through as being something special. "Mistress of the Bleeding Sorrow" features another classic Black Metal riff in the beginning, before transitioning to a doom riff and featuring a solo that is reminicent of Diamond Head's "Am I Evil?" for some reason. This song remains somewhat slow and mournful throughout much of its four and a half minutes. Of course, the album couldn't end without things speeding up one last time, near the end. This mini-epic is a great closer, followed up by the instrumental, "Feathers Fell."

"The Somberlain" is THE classic of Swedish Black Metal, in my opinion. This has not yet been surpassed (though Watain's "Casus Luciferi" came close). This is cold, nocturnal Black Metal filled with hatred, sorrow and pure evil. An undisputed classic. If you don't own this, kill yourself.

Varied..... the same way on every song - 86%

lord_ghengis, July 4th, 2007

Dissection's debut is a stunning hybrid of melodic death and black metal. It maintains an epic feel, along with an acceptable dose of brutality without losing that cold black metal feeling. The Somberlain almost makes you not care that Jon Nödtveidt was a homophobic asshole.

The band has an original sound, with a riffing style that can only be described as epic, it's not really all that frenzied or brutal, but it does have a very dark sound, and does come off as genuinely evil. The drumming is generally pretty standard, with the odd blast thrown in for good measure. The bass work is largely unnoticeable, and when it is nothing about Palmdahl's work is really impressive. But it fits in well. Over the top of that, Nödtveidt growls out some decent or on occasion very good lyrics in a black metal-esque manner, although he is a little easier on the ears than many.

The production is really quite good, definitely raw, but not sacrificing too much note clarity or power to create the effect. Along with this, the mix is very good, with everything sounding solid, including the low end, which makes this album sound quite a bit more Death metal. Really, the only thing that sounds really ugly is the vocals, and that could easily just be explained as Nödtveidt just having an ugly voice.

The songs in themselves are quite varied; most songs have slower, colder, more epic sections, spaced between faster and heavier parts. And a few songs even have magnificent acoustic interludes from John Zwetsloot. Unfortunately, all the songs have these variations in them. So all the songs have the same elements in them. It’s like saying that Deicide are varied for having the multi-tracked vocals. Which is true, but hear it on every song, and the variation needs variation. So the songs that aren't quite so amazing start to end up sounding like less enjoyable, short versions of the first two monsters. And for that reason, you may as well listen to the better songs.

To make matters worse, the first part is loaded with Dissection classics. Black Horizons is a massive track, which gives us the standard cold, epic riffs that are scattered all over this album. Faster sections with blast beats, a nice acoustic interlude added to make an even more strange collection of music. Followed by some fantastic melodic playing, for good measure, a power metal soaring vocal gets thrown in there. And basically the song has amazing atmosphere completed with great music. Not to mention the lyrics that are grating out of Nödtveidt's throat are basically the perfect lyrical description of the music. It just suits the music amazingly.

Then of course you have the title track, which alternates between being haunting and evil, and simply tearing your face off with some higher speeds. "A Land Forlorn" has some oddities in the riffs, along with a few sections that sound kind of doom like to me. But really, with the added content of these three songs you've heard everything that the band has on offer here. Just with added epic feeling, and enough time to go off on a tangent and play darker, softer metal, with just makes them feel more complete. The shorter songs, really have nothing new to offer, a few of them kick a little harder and faster, such as "Heaven's Damnation", but really, Brutality isn't exactly what makes Dissection such an enjoyable band.

So once those are done there's not all that much to look forward to, just more of the same, condensed. The songs aren't bad, they're really quite good, they still sound cold and evil, they still sound epic, Some are better, some are worse, but they're just shorter versions of the other songs. I just never found myself paying too much attention after "Heaven's Damnation" starts.

Musically, there are a few reasons for the apparent onset of boredom. The band still writes epic sounding songs, so they never stick to a high tempo, or low tempo, or single approach really for more than a minute or so, but more noticeably, Dissection have a very distinct guitar sound. And they really like their original guitar sound. As a rule, the guitars are aimed at being evil and haunting rather than brutal, so there’s little to no chugging. Instead, we get riffs that are very up and down, an average riff moves between a number of very different sounding notes, and then after 4 or 8 repetitions, will noodle out with a few little displays of technical picking. The best example would probably be the first riff of "Black Horizons". Riffs like these are all over the album. There are a few slightly different approaches here and there, which have more of a harmony over a chug or just fast buzzing riff. But really, those two together make up almost the whole album.

Now, a lot of these riffs are stunning, and there’s no truly bad ones (Which explains the high score, although I don't deliberately seek out most of the songs after a the first few). But really the best versions of the riffs are at the start, and nothing really new shows up after about 20 minutes of listening. Making the rest really quite redundant, despite its quality.

Actually, I lied; one good thing does come out of the later album. The solos. Instead of long, melodic sections, with occasional acoustics, the shorter songs begin putting more focus on the solos. And both the guitarists can really play, which again helps most of these songs remain fresh. For Instance, "In the Cold Winds of Nowhere" really isn't that good of a song, to me it's one of the most filler sounding tracks. But it's got about a minute of soloing in it, where everywhere else the solos are really short and don't exactly get to build to the same levels of weirdness and originality.

As the final boredom inducing element on The Somberlain, the only really good elements of the band are the guitars and the vocals. The vocals are a blend of a death growl, and a black metal scream, and while not being too far removed from other vocalists, he is pretty good. But like the guitars, he bathes in the fact that he's got an original idea going, and sticks with it the whole way through. This wouldn't be too much of a problem, but on "Black Horizons" he shows all these interesting and good vocal ideas (Power metal wail, followed by some more quiet cleaner vocals, but only used in an orchestral sense), but they don't make an appearance. And with such an epic sounding album, some of these changes could have made everything a little bit more fun.

The drums are really quite dull, with only brief moments of originality or general thought. The bass is worthless. So when you've only got two things going for you, you really have to make sure that they are first: Good enough that they can overlook any other shortcoming. And second: Good Enough that they can stay interesting for the whole duration of an album. Dissection only passed on the first requirement.

The Only Dissection Release You'll Ever Need - 85%

Falconsbane, December 28th, 2006

In music, the spirit of youth often expresses itself in restless innovation that forges ahead beyond the limits of a young band's skill. Dissection's debut, The Somberlain, is an album overflowing with youthful creativity, but also burdened by a youthful lack of discipline. And yet, while it lacks the refined craft of the band's later releases like Storm of the Light's Bane, it possesses a passion, inventiveness, and authenticity sorely lacking in the albums to follow.

The term 'blackened death' metal is often thrown about liberally, with no real concern for its accuracy or the veracity of its usage, but the phrase is aptly used when applied to The Somberlain. By applying black metal technique to a riff lexicon steeped in the traditions of Swedish death metal (with occasional nods to classic doom metal in the vein of first album Candlemass or perhaps Pagan Altar), Dissection forged a truly hybrid style that married the melodic fluidity of the former to the percussive and structural complexity of the latter.

While The Somberlain occasionally genuflects in the direction of traditional heavy metal (most evident in the lead work), the overwhelming NWOBHM influence found on Storm of the Light's Bane is notably absent (and mercifully so). Instead, it features songs epic in construction and spirit (and sometimes in length as well), built from riffs that, while often resembling the work of God Macabre or contemporaries Necrophobic, are laid out so as to suggest the reconstructive spirit of black metal rather than the deconstructive ethos of death metal. Similarly, despite the frequent twists and turns of rhythm, each piece is defined in narrative by melody rather than percussion, with variations of mood suggested primarily by neo-Baroque acoustic breaks and shifts in riff texture rather than by time changes (which, while numerous, tend to be fluid rather than abrupt).

Where this material is strongest is in its ability to capture an eternal instant and hold it for a moment's contemplation. Indeed, much of this material is simply beautiful, despite the darkness at its core. That these ecstatic moments are accomplished with a minimum of the cloying, Maiden-style harmonies and bouncy rock rhythms that undermine Dissection's subsequent releases only enhances their power. Nodtveidt, too, is in fine form, thankfully finding a happy medium between vocal formlessness and the sort of sing-song preciousness that made later material like "Thorns of Crimson Death" almost unlistenable. Here, he imparts his vocal lines with a sense of driving rhythm that compliment the music without simply doubling the dominant cadence in boring, anthemic fashion.

The Somberlain is far from perfect, however. At times, these songs bog down: and like much of the death metal that inspired them, collapse under the weight of their own overly elaborate musical embellishments, their lines of narrative hopelessly fragmented by a riff salad approach that needlessly burdens the compositions with rococo adornment, rendering some pieces more effective in revealing moments of insight than constructing a coherent creative world to explore in depth. But, like an 18th century chateau, the formal beauty of most of The Somberlain makes it an album worth visiting, despite occasional lapses of taste and editorial judgment.

Where it all began - 90%

invaded, June 10th, 2006

This is Dissection's debut. A band that would prove to be an inspiration to many black and melodic death metal bands alike. The melodic element of their raw sound became something that was much sought after in the following years, but this is where it all began.

This album is one that is so well crafted that it within this facet that lies its genius. The acoustic interludes written by Zwetsloot are just right to make links between the album's sections. Black Horizons and The Soberlain kick things off in style, with two of the band's biggest songs songs, not to mention epic, being played back to back. From then on one is sent into a dark atmospheric bliss with cold remnants and melodies to be remembered and felt down to your very core.

Dissection are an evil band and that came through in their sound in the early days. The melodies are catchy yet definitely have that old feeling to them that makes you know you're listening to black metal. The guitar work here is very good, with nice interplay and interesting and tasteful solos to boot. Jon's vocals come out very well although the album's production is very raw to say the least. His voice leads the way for the eerie soundscape to behold. The only flaw may be found in the drum patterns. Ohman was not the most skilled of drummers but in this case one can get by that and simply enjoy the music and its effect.

A very interesting and groundbreaking release, this record is a classic.

Classic... - 96%

Snxke, July 6th, 2004

"The Somberlain" reigns with "De Mysteriis Dom Sathanas", "Black Metal" and "Under the Sign of the Black Mark" as one of the great black metal classics. Everything fell into place for this release...and I mean EVERYTHING. The production is enjoyable, the musicianship is amazing and the songwriting is deep as the darkest well. Vocals mix to create an aura of violence and chaos while the drums/guitars shred atmospheric holes in every space they manage to touch. Evil as evil can be...this record went slightly unnoticed for no good reason at all. Dissection never failed the black metal world, and possibly even surpassed many of the so called "legends" that the media hype that surrounded the first wave ended up promoting. Despite having his own little murder rap and drama...Dissection made music that has only gotten it's just due in the past few years.

I wish I could pick some key songs from this record buy everything is of an equally enjoyable value. The songcraft is both epic and enganging while avoiding the pitfalls and extra-fat that tend to mar albums with such a scope. Also, another trait that seperates them from the "epic black metal" pack is the ability to create an aura of violence that most brutal bands lose when they attempt to drift towards a more thoughtful atmosphere. Little can be said about this record that hasn't been said is an excellent example of epic, violent and thought-provoking composition.

Dissection have created a record with a mood, style and presence that few could even begin to approach. If not for the murders and untimely demise of the band I am sure that they would have received more attention for the music than for the drama and they would be one of the largest acts (not that the returning version won't be) in black metal today.


A promising start - 88%

natrix, March 14th, 2004

The Somberlain could be considered Dissection's finest hour, but a few things hold it back, and I'll get to those in a minute. On the other hand, the traditional metal elements that they threw into this album really make it an interesting listen. John Zwetsloot's contributions are very evident in his emphasis in classical melodies and atmospheres shine in nearly every song. His three classical acoustic pieces break up the album into three distinct pieces and they're expertly performed, without making it sound anything like pow(d)er puff metal. Nodtveidt's lyrics aren't as good as on Storm of the Light's Bane, but they are well written and express emotions rather well (The middle of the title track, "In the Cold Winds of Nowhere" and "Mistress of Bleeding Sorrow" are great examples of this). When the riffs are black metal-esque, they sound strong and evil, when they're thrash oriented, the crush. Good stuff. The more "emotional" sounding moments, like the middle of "Black Horizons," "The Somberlain," and "In the Cold Winds of Nowhere" are really fucking excellent. When they decide to slow it down for "Mistress of Bleeding Sorrow," they dish out some truely doomy riffing. Opeth only wishes they could come up with stuff as powerful as this (no offense to them, but Dissection does the mixture of acoustic and metal best). Oh yeah, and there are more solos on here than on Storm... and they're all ingeniously performed.
Now, the bad parts. Really, nothing on this album is terrible. The artwork is pretty good, the production is clear, and everyone is competent with their instruments. "Black Horizons" takes about 2 minutes before it launches into the main verse, and even if it does go through several riff changes in the beginning, it just seems to take a while to take off. "The Grief Prophecy...," "Heaven's Damnation," and especially "Frozen" never really catch my ear. They just sound a little immature, and when you place them next to the other songs on here, they get overshadowed.
Every riff on this album is dark. Some type of unhappy emotion produced it. Lots of rage, lots of hate, and a healthy dose of sorrow. When they were able to stream-line their approach on "Storm of the Light's Bane," they became true masters of this genre.