Dimmu Borgir’s Enthrone Darkness Triumphant The Third Hell-Shaking Album from the “Super Pop” Band that create Symphonic Black Metal Wave in 1990s

(Ahem, I say, let’s not be too serious, shall we?)

Who hasn’t heard of this “super pop” band? (Oh, do excuse the chuckle!) Dimmu Borgir has been the subject of much mockery from black metal bands desperately clawing their way to the top, never quite achieving those mainstream sales. They’ve been accused of being “so pop”. But I say, Dimmu Borgir is Dimmu Borgir. Why should they give two hoots about the naysayers when their music sells like hot cakes? If the music is listenable, it’s jolly good for the people, isn’t it?

 These chaps have masterfully combined the beauty of pop melodies with brutal black metal in a rather distinctive style. One of the marvellous things about it is that the rhythms that assault one’s ears somehow manage to maintain a smooth and gentle atmosphere. Quite the paradox, I must say!

Now, this is a bit tricky to explain. If you’re accustomed to pop rock, you might be scratching your head, wondering how this super heavy music could possibly be called “POP”. But for those who seek refuge in extreme metal, anyone daring to call this album “heavy” might find themselves on the receiving end of a 100-watt amp to the noggin.

For those with ears of titanium, this album is about as brutal as a cuddly teddy bear. Underline it twice in red ink: it’s “light”. Rather than burying the melodies under a storm of music (which would have made people oblivious to the album’s lightness and reduced the amount of chin-wagging), they’ve let the melodies float above the violent music in the background. Quite clever, if you ask me!

Dimmu Borgir’s Enthrone Darkness

Enthrone Darkness Triumphant was Dimmu Borgir’s first foray into English lyrics, and it seems they became fully aware of their own style. The highlight of this album is the fact that they crossed the boundaries of violence and entered the “pop” genre in a truly authentic way. Of course, some tongues have been wagging, suggesting they’ve nearly become the boy band of black metal. Oh, the horror!

But I ask you, must we always insist that black metal be brutal and Satan-worshipping? Come now, let’s be reasonable!

I implore you to close your eyes and open your mind. Each song on this work is a diamond that shines brightly, stabbing the hearts of violence enthusiasts with melodies. Naturally, those who are mad for Roar Black or Fast Black might not be terribly keen on it.

Shagrath’s singing is as splendid now as it was then. He plays with idioms in a way that makes one want to… er, well, let’s just say it elicits an “Ohhhhhhhhhhh” of appreciation. The accent is superb, maintaining that dark mood with growling, screaming, and vomiting anger and hatred. Just what one expects from black metal, isn’t it?

Their piece de resistance is the brilliant and magnificent keyboard section. It’s not merely an accessory to other musical instruments, as many groups are wont to do. No, this work aims to elevate the keyboard (including synthesizers) to the role of melodic leader, thanks to Stian Aarstad’s expert touch in choosing the right sound at the right time to create an exciting atmosphere.

Take the first song, “Mourning Palace”, for instance. It’s a classic style mixed with black metal music. The synth sound in this first song exemplifies how to use musical instruments to their fullest potential. It’s not just about making the song “pop” or “soft”, but about increasing the sound dimension to be wider and grander than before. Quite impressive, I must say!

But don’t go thinking the guitar part is any less important. You’ll hear cool riffs popping up from time to time, like unexpected guests at a tea party. Their riff creation has a melody hidden in the rhythm, like a tasty surprise in a Christmas pudding.

If you’re in the mood for intense black metal songs, this album still caters to that fancy. Songs like “Relinquishment of Spirit and Flesh” or “Master of Disharmony” are still quite intense. “Tormentor of Christian Souls” is particularly vigorous, with a symphony sound placed in the background like a mischievous sprite.

For a dash of dark atmosphere, one must turn to “In Death’s Embrace” and “The Night Masquerade”. Credit for these two songs goes to Tjodalv, the drummer who added colour to ensure both songs don’t sound too balladic. This chap used to be the guitarist on the first album “For all tid” (he’s since scarpered off to form the black comedy band- Susperia) and is rather nifty with the old double bass.

“A Succubus in Rapture” is the song that best showcases their unique characteristics. With the keyboard sound firmly in place, the guitar acts as punctuation, and many riffs lean towards heavy metal. Their style is a jolly good mix of black metal, thrash metal, heavy metal, and gothic. It might ruffle a few feathers, with some thinking it’s too “market-oriented”. Even though it’s black metal, it’s teetering on the edge of pop. But in my humble opinion, I rather like it. I fancy the combination of melodies with heaviness and aggression.

Dimmu Borgir is one of the famous and influential bands in the black metal circle. They created violent black metal music in their first two albums, For all tid (1995) and Stormblast (1996), but after that, they added the grandeur of symphony sound and focused on that aspect until it felt “too much”, such as in In Sorte Diaboli (2007).

Enthrone Darkness Triumphant marks the beginning of the perfect balance of violence and grandeur, from great songs to songs that don’t quite fit the bill. Follow-up works Puritanical Euphoric Misanthropia (2001) and Death Cult Armageddon (2003) seemed more balanced and refined, like a well-brewed cup of Earl Grey.

And there you have it, ladies and gentlemen! A jolly good romp through the world of Dimmu Borgir’s Enthrone Darkness Triumphant. Now, if you’ll excuse me, I believe it’s time for tea.

Listen this album on YouTube

https://www.dimmu-borgir.com

Dimmu Borgir’s Enthrone Darkness Triumphant

Dimmu Borgir are:

• Shagrath – lead vocals, lead guitar, production
• Silenoz – rhythm guitar, production
• Stian Aarstad – synthesizer, piano, production
• Tjodalv – drums, production
• Nagash – bass, lead guitar, background vocals, production

Additional personnel

• Bente Engen – vocals (track 5)