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If you're familiar with Dimmu, you're familiar with Shagrath and his vocals, and here they sound just fine. Want more? No letup here, just in certain parts, overall musical frenzy of heaviness and darkness is apparent here. The keyboard and vocal passages during the tempo changes of its second half are particularly original and well-constructed. "Urggghh!!!" What carries this album forward and saves it from oblivion is undoubtedly its extremely solid first half. ICS Vortex contributes his best clean vocal performance to date on several songs. The extravagance of some compositions has found its technical equivalent. Well, this album is actually better than “Spiritual Black Dimensions” and it’s loaded with many cool ideas in almost each track, sign that the band worked harder this time; the problem is that, for each single good part, you find a big bunch of mediocre and unnecessary ideas surrounding it. Tristania Beyond the Veil (1999) 185: 185. If you are a black metal elitist, this is not close minded enough for you, so fuck off! This is the track where Shagrath uses... oh sorry, I meant abuses the robot vocals effect. Honestly, I hope it's the second. The riff in the beginning probably will get stuck in your head for hours as it is an extremely awesome riff. No one has reviewed this release group yet. This is candidate to be the worst song ever made by this band, and makes the rest of this album sounding like an absolute avant-garde masterpiece. The booklet and band photos are very well done, if a little hokey and cartoonish, but that’s to be expected with this band. Oh, I think the synth would sound good here..put it also in. HOT HITS 19 UK VINYL 1973 LP RISQUE CHEESECAKE SLEEVE JILLY JOHNSON COVER MODEL. On this album, Dimmu introduce some of the worst “trademark elements” of their modern sound: redundant and pointless chugga-chugga riffing (chugs and breakdowns can be funny if well placed, but here they’re just abused and boring as hell, especially on the already mentioned “Hybrid Stigmata - The Apostasy” and “Kings of the Carnival Creation”) and the typical “march-formula” that will become so typical on most of Dimmu Borgir’s next albums: a “solemn” mid-paced rhythm enforced by hyper-triggered double-bass and loaded with inconsistent riffs; at this purpose, try to listen to “Architecture of a Genocidal Nature”, preferably tweaking yourself if you wanna avoid to fall asleep. Then comes Blessings upon the Throne of Tyranny, a notable song only because people kept telling me it was good when it isn't. As soon as the album starts, you know what you’re in for. Instead, I like to dive into the eerie atmosphere of "Hybrid Stigmata - The Apostasy". Here Vortex, has several standout moments. Every song has memorable riffs and innovative composition, immensely powerful in every note. “Kings of the Carnival Creation” (a very fitting title for Dimmu Borgir, huh?) Next comes the most repetitive part of the album, the trio of "IndoctriNation", "The Maelstrom Mephisto", and "Absolute Sole Right". In short, this album sounds huge. The drums are the highlight of the album, how they are played and they way they sound. The production is perfect, maybe too perfect. And thus we have reached the final track of this album: Perfection or Vanity! The song mixes speed with melody greatly. It’s fast and melodic and just amazing. Here we see a singer come into his own and empowers his signature personae two fold. The album is extremely varied and it's never boring, because it alternates furious, light-speed sessions, to slower and more melodic parts, where Shagrath's demoniac vocals are backed by Vortex's clean vocals: and damn, is he good at singing. Okay, most overt flaw... as with most modern bands, the drumwork is far too fucking loud. ~ Release by Dimmu Borgir (see all versions of this release, 11 available), Special edition with one bonus track: Burn In Hell (Twisted Sister cover). I'll talk a bit more about this repetitiveness when I single out songs. The quality of the songs is consistently high (with the caveat mentioned above). To put it differently, Dimmu Borgir's compositional skills do not match their ambition: there are too many ideas thrown in the mix, some are good but other are bad, and anyway it is too much for the listener to digest. 'Hybrid Stigmata' is perhaps the best example, and turned out to be very beautiful, possibly even the best song on the album. This album is more of a transition album than SBD was, because the latter was clearly created to be a more symphonic version of Astenuu’s side project album Mirror Hate Painting from Carpe Tenebrum. The guitars “gallop” with pulverising distortion and palm-muted power-chords. Once again, we're brought to a cheese fest with Absolute Sole Right. Despite its long time and constant need for chaotic variances, it can arguably be considered a classic. This album still resonates in the ears of this listener as one of the great treats a metal fan can behold. The foremost would be the generally plastic nature of it. And Puritanical Euphoric Misanthropia The keyboards are a Shagrath-Mustis split, with the former creating a Devil Doll like high pitched bells sound trademark (see Kings…, Architecture…, Absolute…, Indoctrination), while the latter occupied himself with the piano (Blessings…). Be the first to write a review. They suddenly get all thrash on your ass, with some serious ability to bang your fucking head. Throw everything against the wall, see what sticks. This song features some more awesome symphonic riffs of Mustis, then the heavy part comes in and Shagrath shrieks alot. However, what really stands out in the vocal department are the clean vocals delivered by Vortex, which are just spectacular. just like that, the momentum is lost. True, gone is the grand piano wankery of Stian Aarstad, and Astennu's mind blowing guitar work on the two previous releases. That feeling of power is in good part due to his performance, which is leagues ahead of that on the lackluster Spiritual Black Dimensions. Kind of like Det Nye Riket did with For All Tid. There are the classic pure black metal artists such as Immortal (which I have seen a few months ago, just like Dimmu Borgir), the pagan bands that spawned after the succes of Bathory and there are the melodic/symphonic black metal bands, such as... well Dimmu Borgir. In a way, this is not too dissimilar from what rival superstars Cradle of Filth were offering at the time: although there are clear musical differences between the two bands, both have a very bombastic and cinematic conception of black metal and mix melody and aggression in equal parts. Then “Blessings upon the Throne of Tyranny” begins. Darkseed Midnight Solemnly Dance (1996) 184: 184. I should probably start by saying that while this album is bad, it's not an absolute atrocity (hence the 49). The problematic "over-production" is in fact the overuse of non-metal instruments and other excessive experimentation, not the quality of recording. If a band cannot right good songs, they cannot compile a good album-plain and simple. Well, guess now they can add the tag now to their music-extreme gothic/industrial metal. Over all, this is an enjoyable track if you manage to forget the fact that Dimmu were supposed to be a melodic black metal band. It really is a thing of beauty. The Japanese edition features a bonus CD with two tracks, including a cheeky cover of Twisted Sister's "Burn in Hell" and two videos. There's some nice filled keyboard moments at around 2:45-3:00 and the drummer also tries as much as possible not to spoil the atmosphere with his incessant blast beats. Puritanical Euphoric Misanthropia (2001) Alive in Torment (2001) Puritanical Euphoric Misanthropia je piaty štúdiový album symfonickej black metalovej skupiny Dimmu Borgir. The band had their own keyboardist on this album, but Shagrath as well evidently had a hand in the synth effects here and there, thus proving how assertively important and dominate they are to the music on this record. Fuck Jesus!” lines, and the band chose to attack organized religions, instead of just Christianity, like most of the black metal bands. Next comes my favorite track off this album, Kings of the Carnival Creation. A choir comes in, mixed with some horrible synth..and as if to add insult to injury, add some techno shit to proceedings and you have me looking the other way! The "over-produced" sound makes more accessible - it's common that about almost every band there is, their tenth-anniversary albums sound much more powerful than their first releases. The result is not as much dazzling as confusing. It still gives me goosebumps to here him sing the clean vocals on Spirituals, The insight and the catharsis. If would make both Cradle and Dimmu re-record their old albums to sound like this one if I only could; "I'd like to order an over-produced rerecording of Stormblåst, please". Epica The Phantom Agony (2003) 182: 182. Trail of Tears Profoundemonium (2000) 180: 180. Yes, this album is a sin, a sin against metal humanity. It sounds good. Nevertheless, Dimmu Borgir do not flirt with the mainstream and many pieces convince with heaviness, power and depth. It adds a level of depth to the album which I think is often over looked. It's fun for a while, and blissfully short, but eventually ends up sounding like everything else. I would venture to say that I enjoyed all of the tracks on this release. The symphonic/orchestral parts, as usual, detract too much from the guitars; even if they’re slightly more consistent and less “dominant” than on “Spiritual Black Dimensions”, they’re still too fucking pompous and overloaded (often even asphyxiating) and they can’t work well in the context. This album really isn’t even black metal at all. This song begins with an atmospheric keyboard from Mustis and then the guitars and drums begin the chaos. But once his beautiful singing finishes, Galder continues his melody with a totally bad-ass guitar solo which totally fits the battle I mentioned before. Buy online or instore today at JB Hi-Fi Immature, yes, but true. Blog | With the new addition of black metal heavyweights (no pun intended for ex Cradle drummer) Nick Barker and Galder. At least I'm glad they didn't make it ten minutes. Check. "Puritanical Euphoric Misanthropia" is a fantastic record: it's heavy, inspired, varied, original, technical: it sounds epic without being cheesy (not that I have a problem with cheese, but still); it's incredibly well produced, and still it sounds evil and haunting (and by the way, I always thought it's absurd to think a black metal album should be "potato-produced" to sound evil); it experiments succesfully, making use of samples, a real orchestra and effects, and even in terms of lyrics it's awesome. You could listen to the first three songs and get an idea of what the rest of the album will sound like. Popular . With the tools of solid sound, one can begin to appreciate the minor aspects that prevent this album from sinking into the depths of absolute worthlessness. Nick Barker, newly arrived on drums from Cradle of Filth, would play his heart out, with the crisp Fredrik Nordstrom production and mix pumping his performance up front and centre. And I must say, for a while those hopes aren’t disappointed: the next four tracks are most of the highlights. The legendary Cradle of Filth drummer, a fucking “king of blast-beat” who contributed to make masterpieces like “The Principle of Evil Made Flesh”, “Vempire”, “Dusk... and Her Embrace” and “Cruelty and the Beast”, decided to choose the “ca$h-path” before Cradle actually did, playing with an already fucked up band and even triggering his double bass in order to sound more “br00tal”. The guitar riffs are good, sometimes even extraordinary. Surprisingly, it works well and doesn’t seem misplaced or annoying. ‘Puritanical Euphoric Misanthropia’ opens with fantastic strings in the haunting ‘Fear and Wonder’, which sets the tone perfectly. While the song writing on this album is good, not great or anything - it would be much plainer without Nick's incredible drum work. Obviously, after this album, the band understood that industrial influences don’t fit well in their sound, so they moved away from that genre. The guitarists also do a pretty good job, with impressive riffs (Kings of the Carnival Creation) but, like on many similarly symphonic-dependent albums, the rivalry with the keyboards/orchestra is too great and often the guitars are buried too deep in the mix. The two bands also share one major difficulty: it is not easy to build multi-layered, shape shifting songs without losing the sense of direction (and boring the listener). If you're looking for something that's totally dark and dismal, depressing, atmospheric, original, heavy plus uncompromising, "Puritanical Euphoric Misanthropia" is where its at. I do not. Type: Full-length Release date: March 19th, 2001 Catalog ID: NB 527-2 / 27361 65272 Label: Nuclear Blast Format: CD Reviews: 24 reviews (avg. I find myself going back to the beginning of Blessings Upon the Throne of Tyrants. While a majority of Shagrath's performance is raspy roars, he occasionally has a lower-tone rasp, not exactly a growl but think a preaching man in a tall black coat with a deep voice speaking, that's the best way I can describe it. Architecture of a Genocidal Nature seemed to me more of an epic failed attempt at symphonic metal. This compliments the forceful guitars well and keeps everything grounded. Oh baby..that riff-solid, annihilating-AWESOME!!. That is, the instruments are played well, and the composition, for the most part, isn't terrible (well, ok, maybe Puritania). Absolute Soul Right is also a worthy mention. Epica The Phantom Agony (2003) 182: 182. Everybody knows that the keyboards are an integral element of the Norwegian's music and therefore it does not make sense to wait for ice cold leads or orgies of brutality. As we do every year, let's take a moment to look back at what was happening in the metal scene 20 years ago. Once again I find myself in the position to congratulate Dimmu for creating a masterpiece, sadly this might be the last time. I was initially very impressed, because songs like 'Indoctrination' and 'Absolute Sole Right' really blasts your speakers, and Shagrath sounds in my opinion better than ever before. Price: $8.33 8.33 quantity Quantity. The desire to copy the production work of Bathory and Hellhammer is a trend that should be eradicated. Bug Tracker | But leaving this aside, let's get to the actual album. Architecture of a Genocidal Nature has this cool opening riff but alas..the bad synth comes riding back again. Galder's guitar work falls a bit short, besides his great solo on "Kings", he really does nothing groundbreaking, and has yet to even now, 6 years and 3 releases later. Moving on to this song, you'll find more epic guitar playing from Galder, some more keyboards from Mustis, fast drumming from Nick Barker and some attempted shrieks from Shagrath. But when this album first came out, I listened to it obsessively for well over a year. The shaping of the modern Dimmu Borgir sound, for which they’re known/loved/hated these days, truly emerged here after having slowly started with the monumental Enthrone Darkness Triumphant several years earlier. In fact, unlike this album, boobs are always a good deal. The following track, Malestorm Mephisto, is pretty cool, although it could have been better. Dimmu Borgir truly hit their stride here, getting the sound just right and writing some classic black metal anthems in the process. Nick Barker is certainly a metal legend today, and this is for a good reason. There are clean vocals, too, and while they aren't as bad as they could be, they don't help this mess at all. Mustis plays a fast and beautiful symphonic riff and then Vortex bumps in and sings like a God! Format: CD, Year: 2001, Label: Nuclear Blast America (6527-2), Barcode: 727361652722, Length: 57:54 £22.86. Many tracks suffer from being a bit too similar: i.e. The grindcore elements are far too prominent, namely in regards to the drumming. Shagrath, on the other hand, is struggling, and since SBD, he manages to use techniques that he can not reproduce live. Now, don't misunderstand me: the latest studio efforts of the band, "In Sorte Diaboli" and "Abrahadabra", considered as a whole, sound definitely average and uninspired (especially when compared to their previous outputs), save a few songs. But the most incredible thing is that, this time, even those so hated “slow/atmospheric parts” fucking own. Other songs such as "Architecture of Genocidal Nature" and "Puritania" also contain an industrial metal sound bearing along the likes of Marilyn Manson. Its mix of dreamful and harsh, orchestral and metallic, melodic and aggressive sections is probably not spontaneous, but well executed. "Architecture of a Genocidal Nature", simply put, is boring as hell. Starting with a pure symphonic intro, the album carries on with four technical and highly keyboard/orchestra-dependent black metal numbers before reaching the mish-mash of different song styles, announced by the industrial-themed Puritania. While Dimmu Borgir's tainted past lies beneath the tr00 black metal oddities, their newer "omg dey sold out!1" sound is what the band is ultimately known for. It's intense and heavy plus dark, depressing, uncompromising. I haven't heard many Dimmu Borgir records, but this one is quite different from Stormblåst. The bass guitar lies beneath all the tornado of sound, usually never heard once. “Indoctrination” has some of the heaviest moments in the entire Dimmu catalog. Still, it’s worth hearing for the awesome parts (which are very good) and as an interesting and mostly successful experiment in mixing an orchestra with extreme metal. The guitar work is excellent, fast and aggressive but also melodic and with plenty of catchy riffs and melodies (and even one or two solos). "Sympozium" is an above-average song that, like "Kings" and "Hybrid" has a nice mix of the standard style and synth accompanied by entertaining vocals. No doubt, the music borders on turgidity from time to time and if you want to describe a few lines with the hardly flattering word "schmaltz" - well, please feel free to do so. They borrowed some quality songwriting from a band that actually knows of such a thing, and they managed to not have the drums too fucking loud in the mix. To call the songs "bad" is something of a misstatement. While you were fucking around with your cool Dimmu pals, Cradle were making other two masterpieces (“Midian” and “Damnation and a Day”); then, they began to sell out too, producing that awful abomination called “Thornography” (worse than most stuff ever produced by Dimmu Borgir), but that’s another story. But the solos came out moderately good. Overall, this is a good album, surely better than their 1999 album Spiritual Black Dimensions, but still inferior to the great Enthrone Darkness Triumphant. Dimmu Borgir "Puritanical Euphoric Misanthropia" Gatefold 2x12" Black Vinyl Release Date: Feb 23, 2018Please note that we are currently waiting for a restock of this vinyl... £24.99 Ex Tax: £20.83 The album cover is not particularly my thing, and if anything it tends to undermine the classy and sophisticated music within, but I can see that they’re trying to cling to a degree of extremity. I cannot, in good consciousness, recommend this album to anyone; however, if a person receives it as a gift, or purchases it on impulse, a methodical process of listening may reveal some satisfaction. Dimmu Borgir are incapable of writing quality songs-at least consistently. It’s very sad to hear a riff like that of “Blessing upon the Throne of Tyranny”, blasted at maximum speed but still quite inconsistent and unexpressive. Very evident on every track sans the instrumental intro and symphonic outro. Puritanical Euphoric Misanthropia Dimmu Borgir. I'd like (once again) to hear more of their discography, yet I feel that I heard the best from this one and this one only. You don't get a drummer of this caliber only to turn him down in the mix. Of course, I admit that this is a rather easily digestible form of black metal, nevertheless, it is a legitimate approach within the bounds of this genre. 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