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The band has been through numerous lineup changes over the years; guitarist Silenoz and vocalist Shagrath are the only founding members remaining. Forgot your password? Retrieve it. Get promoted. Powered by OnRad.

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Satan — Court in the Act. Stay Down. Progenies Of The Great Apocalypse. More Dimmu Borgir Lyrics. In Death's Embrace. This is a requirement of our licensing agreement with music Gracenote. Dimmu Borgir perfectiion Perfection or Vanity. Absolute Sole Right Lyrics. Ozzy Osbourne — Bark at the Moon. Read More

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Vortex on bass and vocals? Added by: Krister Jensen Modified by: Shadechaser Added on: Last modified on: Every great guitar riff is punctuated with an insane blast or double-time on this album, to the extent that one is constantly aware of the drums, Ultrasound showed fatty liver almost foremost along with the other instruments. Nicholas Barker Dimmu borgir perfection and vanity here. Track 11 is another instrumental, Perfection or Vanity. Galder, Mustis and Silenoz deserve a great deal of praise as well. Here Vortex, has several standout moments. Vanigy when this album first came out, I listened to it obsessively for well over a year. Thursday 8 August Sure, Nick Barker is a great drummer, and boorgir does a good job on this album if not a little sloppy here and there but at least you get the sense that hes giving it his all. Maybe yes, a little mechanical sounding drum Dimmu borgir perfection and vanity here, but still what grabs me are the guitar riffs. DiamheaJune 18th, Borgid is no album for peffection who still think that metal should be the simple music of the working class, but to be honest, I have never shared this kind of thinking.

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Monday 5 August This album pretty much consumed my early teenage years and leads me to greater, much blacker things. But leaving this aside, let's get to the actual album. Tuesday 2 July I also hope that unless they keep making more masterpieces like 'Hybrid Stigmata', they should stop using strings in almost every song. Saturday 21 September

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity

Dimmu borgir perfection and vanity. Current Members

The first track and the last track are real classical music pieces, the first being dark and atmospheric, and the last closing the album in a way that's as epic as possible. Silenoz and Galder really shine in this album, providing some of their finest, most memorable and technical performances ever: think to "Kings of the Carnival Creation", where we have an amazing double tapping session and a melodic solo including even some cool sweeps.

The guitar riffs are extremely heavy and aggressive, for the most part they are extremely fast but sometimes they get slower and even more majestic; the songs feature mindblowing tremolo picking sessions and time changes think again to "Kings of the Carnival Creation" or "Blessings Upon the Throne of Tyranny".

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.

The orchestra perfectly complements the music and never sounds outstanding, although in some tracks it's more prominent for example, "Hybrid Stigmata - The Apostasy" and "Sympozium" ; nevertheless, the result is always extremely good. The band also made a wide use of samples: think to "Puritania", a heavy and experimental song, which gains an industrial feel thanks to the use of vocal distortion and sampling, resulting extremely evil and disquieting.

It does differ from the traditional black metal sound; but again, why should someone necessarily stick to tradition to make good music? Approach to this album with an open mind, and you will appreciate it for what it really is: a real work of art. Well I think having lived with this album for 17 years now, it's time to give it a review.

I remember when this first came out, I wasn't really a fan of black metal at all. I was more into death and thrash, and to a large extent, still am. Black metal is something I will listen to once in a while, but honestly, not that often. But when this album first came out, I listened to it obsessively for well over a year. And I think the main reason for that obsessive listening is because of Nicholas Barker. I'm a guitar player but I've always been fascinated by incredible drummers, as a top notch drummer can really make or break an album.

While the song writing on this album is good, not great or anything - it would be much plainer without Nick's incredible drum work. This era of Dimmu also has as to what I think is the best line up they've ever had. Nick Barker on drums? Vortex on bass and vocals? Mustis on keyboards? At this time, they were simply not to be fucked with. Yes it's over polished and over produced, but who cares.

It sounds good. The guitars can be heard loud and clear, the bass is there, the vocals are mixed just perfectly, and while the drums are quite up in front - well, they damn better should be. You don't get a drummer of this caliber only to turn him down in the mix.

Nicholas Barker dominates here. He decimates worlds. The drum work is probably the best of his career, it's absolutely top notch. Just listen to the incredible speed and fluidity he has during "Blessings Upon the Throne of Tyranny" - it sounds like a fucking cyclone has erupted in your speakers. It sounds like a whirlwind of kicks, snare and cymbals. And it's not just fast, sloppy drumming, either. It's fast, razor sharp and precise.

It really is a thing of beauty. The song writing is pretty solid throughout, with the orchestration parts being highlights, surprisingly. Usually on these types of symphonic albums, they are poorly done, but here Mustis has clearly put a lot of thought into his arrangement and his work, and it clearly shows.

It adds a level of depth to the album which I think is often over looked. The guitar riffs are good, sometimes even extraordinary.

There are some fillers on this album I'm looking at you "Puritania" but for the most part, it's all barrels loaded, no bullshit metal. I'm not going to get into the lyrics or the vocals because there's no need really. If you're familiar with Dimmu, you're familiar with Shagrath and his vocals, and here they sound just fine.

However, what really stands out in the vocal department are the clean vocals delivered by Vortex, which are just spectacular. The album ends with "Perfection or Vanity", which I think is a perfect closer for such an album. Was never a fan of that band, and never will be. I know that I gave this album a 90 out of , which is a bit high. Lets just say that it holds a sweet spot of nostalgia for me. But besides that, it really is a good album, one of Dimmu's best.

After this, I always thought they went a bit downhill, focusing more on their image than their songs, a problem shared by Behemoth. But this is, from pretty much start to finish, a stellar album. Dimmu Borgir; is it okay to call them tragic persons who did not realize the day they begun to suffocate in their own bombast? I am undecided. The album is filled to the brim with pompous lines, bombastic sound effects and gigantic constructions.

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. Nevertheless, I beg to differ.

This approach is laudable. The spectrum goes from almost industrial shredding the mechanized "Puritania" to film music the heroic "Perfection or Vanity" , but the main component is naturally black metal.

This is the predetermined breaking point for some wise guys to scream: Dimmu's pop music shit is no black metal at all! 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. Nevertheless, Dimmu Borgir do not flirt with the mainstream and many pieces convince with heaviness, power and depth.

Its configuration ensures a lively number, flattening guitars alternate with howling keyboards and I wish I could write such a piece of music, although the kitschy vocals at minutes are too much of a good thing. However, the song conveys a more or less malignant vibration and this is always a solid indication for good black metal. 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.

Of course, the production lends the songs a clear appearance. A very clear appearance and you are right, I have thought about to call the mix sterile. But the more I was listening to this work, the more I got used to its sound and after all, I see no reason to blame the band or their label for this production.

The extravagance of some compositions has found its technical equivalent. It doesn't matter whether we like it or not, but the sound fits the music. Its mix of dreamful and harsh, orchestral and metallic, melodic and aggressive sections is probably not spontaneous, but well executed.

One cannot blame the dudes for having created predictable songs, because their tool box is very big and nobody knows in advance which tool they will choose next. Just have a close look at the vocals. They deliver the whole range: malicious nagging, demonic speeches, melodic laments, clean vocals and more.

This is no album for those who still think that metal should be the simple music of the working class, but to be honest, I have never shared this kind of thinking. In combination with the double bass driven sections and the slowly growing intensity, this piece reveals the core competency of Dimmu Borgir at the beginning of the new millennium.

They connected melodies with aggression in order to tell horror stories - and they did a good job. As I stroll through the valley of the shadow of mediocrity, I will harbor no grindcore. Yes, this album is a sin, a sin against metal humanity. Let he who is without sin cast this drivel into the nearest fire. Thou shalt be consumed by thee ceaseless flames of metallic justice. Ok, so perhaps that may be a tad harsh, but certainly Dimmu Borgir has done nothing deserving of the praise they garnish in the metal community.

One thing that can be said about Dimmu Borgir is they have their musicianship in order. Somewhat technical riffs are delivered in a precise manner, and one cannot doubt the band has the command of melody. The drummer; while annoying, can obviously beat the skins with the best of the bunch. A constant barrage of screeching is sure to give the listener a piercing headache. Given the fact Dimmu Borgir seem to have their technical works in order, where does the problem start? The album epitomizes the very concept of song craft over technical ability.

If a band cannot right good songs, they cannot compile a good album-plain and simple. Dimmu Borgir are incapable of writing quality songs-at least consistently. Thus, this album suffers from technically proficient mediocrity.

Every song on this album is a mess. A catastrophic display of shrieking and out of place keyboard harmonies, merge with frantic, aggravating blast beats. Indeed, the drumming may be the worst aspect of this wreck. Imagine taking a Bathory album, combining it with an artificial version of Trans Siberian Orchestra, and slapping it with a coat of Napalm Death-this album is the result.

The grindcore elements are far too prominent, namely in regards to the drumming. Comparatively speaking, there are many worse albums on the market. For starters, Dimmu Borgir chose not to intentionally produce the album poorly. The desire to copy the production work of Bathory and Hellhammer is a trend that should be eradicated.

Thankfully, Dimmu Borgir realizes the fault in doing so. The mix is bombastic, capturing the true essence of each and every instrument.

In terms of sound quality, this album sounds good on every stereo system I own. 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. The guitar sound is just plain heavy.

Each riff, mediocre as they may be, pummels the listener. Even considering the messy song structure, a person can at least see his or her need for punishment fulfilled. The solid mix also allows for the occasionally brilliant keyboard melodies to be heard, despite the nerve-grating blast beats.

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. But, well, it seems that too much success has fucked up their minds. Well, forget all these reasons. Experimentation is a good thing. But never mind the production: music is the real problem here. The worst thing is that, often, the bad parts are even repeated cyclically more than once, making the songs overlong and even more boring.

Then, luckily, some of the most powerful and kickass riffs of the album come in, but, after a while, this shit repeats again, this time even more insistent than before. Thank you, Dimmu Borgir. Now I need to change my pants. Want more? And, talking about triggered drums, you know what? On this album, drums are played by Nicholas Barker.

Wow, man, great choice. Well, they sound like if Dimmu Borgir was embarrassingly trying to emulate Pain, Fear Factory or stuff like that, but without enough charm. Oh God.

If I had to choose only one song to represent the absolute nadir of this band, this track would be the choice without doubt. Where the fuck are we? On a Dimmu Borgir album, or on the Sybreed debut?

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. Being honest There are many tremolo riffs which are pretty typical of the genre, accompanied by bestial blast-beats Nicholas Barker still dominates, motherfuckers!

I answer: yes. I really like this song. So, what could I say? If you wanna hear some really great industrial black metal, rather than this half-failed album, check out Aborym, Blacklodge, or the inventors of the genre, MysticuM.

However, the cover art is great. In fact, unlike this album, boobs are always a good deal. The one thing someone will observe first, when comparing this album with its predecessor is the almost total line-up change. Shagrath again took over the keys, along singing, Vortex, the bass instead of Nagash , Barker, the drums replacing Tjodalv , and Galder assumed the place of lead guitarist, left vacant after the dismissal of Astenuu and the resignation of Archon, soon afterwards.

The sound change was more in the vein of EDT , with increased emphasis on the speed and aggression, in the detriment of harmony and to a lesser extent, of the melodic department. I believe this is the reason why many fans like the and efforts almost equally.

The only notable difference between the two of them is the increased sophistication in the compositional department, most obvious in the lyrical one. Fuck Jesus! Instrumentally speaking, I have to say something about the guitarists. Like in no other album, there contributed like five guitarists: Shagrath, Silenoz, Galder, Archon, and Astenuu.

The latter is not credited, while Galder and Archon had minimal input. The real weak link is Silenoz, who will fuck up the albums more and more. 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….

They also handled the orchestrations, with Mustis taking care of the intro, and Shagrath, with the outro. Both are very good and actually different; Fear and Wonder is more classical, while Perfection or Vanity is symphonic metal. Sure, the blasting is great, even if the production is very loud I think the producer is the same one as in many famous power metal bands, like Manower and Hammerfall , but the fills are getting old quick.

Now, the vocals… Vortex plays his lines very well, even though I hate when he doubles or triples them. Shagrath, on the other hand, is struggling, and since SBD , he manages to use techniques that he can not reproduce live.

The other is screaming, which is nowadays like the solar eclipse — it might wow you when it comes, when… And finally, is the high-pitched snarl, another almost disappeared trait. Everything is well thought through, and the musicians are at almost full potential.

If you are a black metal elitist, this is not close minded enough for you, so fuck off! Within the realm of extreme metal, I like to think of bands such as Dimmu Borgir, In Flames and Lamb of God and such are gateways to those being exposed to heavy music.

This album, I believe is one of the best and finest releases you can give to someone when introducing them to extreme metal. While Dimmu Borgir's tainted past lies beneath the tr00 black metal oddities, their newer "omg dey sold out! Simply attaching the word "symphonic" at the beginning of a black metal band's genre will shift away an entire fanbase while drawing in an entirely new one. Here we see, this group's very heyday expanding upon their evergrown qualities all starting or in some cases, ending with this hour-long opus.

Like most Dimmu records, this one of course opens up with a symphonic opening including either violins, pianos, or both. The appropriately placed best song on the record is no further than track 2.

The thing that gets me the most after just hearing this song is the fact that the production puts the guitars up front at crunchy reverbs while drums sound like they're smacking hurricanes and all in all in the end, just sounds like every instrument is beating the shit out of each other to get to the top.

Other tracks as well such as "IndoctriNation" and "Kings of the Carnival Creation" have some production inconsistencies such as drums being too quiet during some parts, and synthesizer being too loud. The double bass kicks are usually always behind the rhythm guitar, while the snare is even louder than the lead guitar at most times.

The bass guitar lies beneath all the tornado of sound, usually never heard once. One of my favorite things on this entire record in particular though is definitely the drumming. It nearly saves this record amongst any other late Dimmu Borgir album and I remember even looking through the personnel credits within Nicholas Barker's discography on some days just to find some more DImmu Borgir albums he has played on or other bands he's played with in general.

The drumming is almost the best highlight of this album. Every blast beat Barker does is fantastic, it's just a shame consistent blast beats were only a featured characteristic on this album only within Dimmu Borgir's library. Amongst other qualities that the record contains such as guitar solos, keyboards and of course, vocals. I would have to make my remarks on the vocals first. 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.

Other than that end of vocals, the clean vocals on this album, while not near as abundant, they're pretty cheesy and do almost nothing for the music. Finally, synthesizers are an odd one here, they alternate in all sorts with the music, creating a differed atmosphere with each scheme or theme to the music.

Unlike many bands, the synthesizers here are a big, big hard element to the music. The synthesizer in mid-song actually breakout into a danceable rhythm that I think could even be compared to the likes of "Stick Stickly" by Attack Attack!. Yes it really was that ridiculous to my ears, and in the same song even lead on into an emotional, quiet piano piece.

Other songs such as "Architecture of Genocidal Nature" and "Puritania" also contain an industrial metal sound bearing along the likes of Marilyn Manson. 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. The album is indeed very inconsistent, but that, I believe is what keeps it fresh.

Sometimes it even feels like Carach Angren's storylike and highly adventuristic musical style because of it. But as far as Dimmu Borgir, I have to hand it to them for being one of the leading and most influential bands ever seen within the symphonic black metal genre.

Puritanical Euphoric Misanthropia is far from perfect, but it is most definitely a great record for those that are just at their very beginnings into listening to extreme metal.

Despite its long time and constant need for chaotic variances, it can arguably be considered a classic. Maybe yes, a little mechanical sounding drum kicks here, but still what grabs me are the guitar riffs. I always felt that this Dimmu album was their best. I may need to hear more of their discography to further calculate an opinion, but for the moment, this is my favorite one. I like the atmosphere it bestows. It's intense and heavy plus dark, depressing, uncompromising.

The guitar is to me the best feature that the album retains its forte in. Aside from the mechanical drum kicks, the rest of the music is full of darkness and despair. The blast beating wrenches the eardrums and the guitar has tremolo picking frenzies varying in tempos, bar chords that are heavy plus thick, lead playing that's fairly decent, synthesizers to create a demonic sense of idealism for typical black metal mixed in with melodic riffs.

That, in respect, is my favorite aspect of the album, definitely not how again the drums played out. They would've received a higher rating from me if the album didn't have that kicking or futuristic sort of sound.

But for the moment, "Puritanical Euphoric Misanthropia" is still my favorite release. Variety in the vocal department, yes, a mixture of screaming mainly overshadows the low burly tonality that is exhibited in certain parts of the songs.

I would venture to say that I enjoyed all of the tracks on this release. I'll definitely have to hear more from the band, but really, their new one, just a waste. They need a comeback release and that one I was to be sure to rid myself of it. A great cast of musicians here with Galder on lead, which to me really isn't his forte. But the solos came out moderately good. I would say it's best that they had NO leads on this album yet that is my feeling anyway.

It doesn't seem like many people appreciate this band's symphonic black metal outputs. No letup here, just in certain parts, overall musical frenzy of heaviness and darkness is apparent here. I don't think that the album was appreciated by most listeners because of such poor ratings. They really had balls here and it was apparent after I heard this many times over.

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. Definitely top not recording with riffs that will blow your hair back. Again, Barker's drum kicks were kind of annoying, but still the music was the highlight. Not everyone is to agree with this, I just felt it was the best constructed by the band out of their entire discography.

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. This album pretty much consumed my early teenage years and leads me to greater, much blacker things. Dimmu Borgir needs no introduction due to the hatred they receive by black metal enthusiasts sometimes known as elitists that I think is not as deserving as they will tell you. A nice intro before the madness begins.

The riff in the beginning probably will get stuck in your head for hours as it is an extremely awesome riff. The song is long and will or should keep you engrossed the whole time. The production is perfect, maybe too perfect. Maybe a little too much overproducing is what gave this album such a hard time finding its place in the black metal community.

Everything sounds perfect. The drums are the highlight of the album, how they are played and they way they sound. The guitars are heavy as fuck. The bass is too quite but has a few moments.

This album is good, try not to listen to the people who will tell you they sold out and all that shit. Just give this album a chance. So with this album Dimmu Borgir had entered the new milennium, and from the first two tracks we will notice a departure from their previous style. But no matter how catchy and quite fantastic a large part of the songs on tthis album are, I cannot get rid of the feeling that they are trying to copy Cradle of Filth at some points Architecture of a Genocidal Nature, The Malestorm Mephisto, Sympozium.

Why, Dimmu? Why would you try to copy these guys when you have already created your own atmospheric style with your first 2 releases and then expanded it with Enthrone Darkness Triumphant and Spiritual Black Dimensions?

But leaving this aside, let's get to the actual album. The album begins with Fear and Wonder, a clever symphonic intro, courtesy of Mustis, which sets the mood perfectly for the entire album. The intro is epic, almost like a movie soundtrack for some reason I think of The Godfather , and is sure to bring shivers down your spine as the second track comes in your speakers.

Blessings Upon the Throne of Tyranny is a fast and brutal song, kind of like Behind the Curtains of the Night - Phantasmagoria from their previous release, but the thing that makes this song at least enjoyable are the guitars at the beginning and the mood that was set by the previous track. Next comes my favorite track off this album, Kings of the Carnival Creation. This masterpiece has everything it needs to be a perfect Dimmu song, almost like The Insight and the Catharsis.

This song begins with an atmospheric keyboard from Mustis and then the guitars and drums begin the chaos. The song mixes speed with melody greatly. Galder shows us his talent on the guitar on more than one occasion on this song.

Sadly, since Shagrath lost his fellow backing vocalist Nagash, it becomes more noticeable that his voice is beginning to deteriorate. Although he does try to hide this by adding robotic effects on it, as you'll see 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.

Luckily, at the song's real epicness begins. Mustis plays a fast and beautiful symphonic riff and then Vortex bumps in and sings like a God! His singing on this song might be his best of all time, I dare say. Just closing my eyes while listening him sing brings me to a Roman arena in which he sits on a throne with a golden cup filled with blood in his left hand, and he moves his right hand and orders the armies of Gladiators inside the arena to battle each other to death.

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. Once the solo ends, the band repeats some riffs from the first half of the song until they reach a small break.

In that break you can hear Mustis playing an organ melody as Shagrath says: "Left are the Kings of the Carnival Creation to carry out the echoes of the fallen". The song turns faster once more and Shagrath does his final screams, and then the song ends. Once again I find myself in the position to congratulate Dimmu for creating a masterpiece, sadly this might be the last time. This song features some more awesome symphonic riffs of Mustis, then the heavy part comes in and Shagrath shrieks alot.

This song is catchy as hell, almost as amazing as Kings The best part would be the one from the middle where Mustis plays some beautiful orchestral parts and Vortex joins in for a few seconds with his fantastic singing. Sadly, the epic part of the album is about to end. Architecture of a Genocidal Nature seemed to me more of an epic failed attempt at symphonic metal. It turned out being nothing more than a speed fest with some pianos here and there which seemed like a rip off from Cradle of Filth's Cruelty Brought Thee Orchids.

Luckily, the title track, Puritania, saves the day. It's a mixture of extreme metal and industrial metal, all with the welcomed orchestra. This is the track where Shagrath uses Although I think that they're fitting perfectly for a song themed with the eradication of the planet Earth. 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. But once again, Dimmu thought that the cheese fest wouldn't be enough, so the next track, IndoctriNation, adds some more fast drumming with some random symphonic stuff here and there, and Shagrath's attempted, but failed shrieks.

The following track, Malestorm Mephisto, is pretty cool, although it could have been better. I love Vortex's part in this one and the song's intro, but the rest is pretty mediocre in my opinion.

Once again, we're brought to a cheese fest with Absolute Sole Right. This song is speed I can hardly find any melody or catchiness in it. Sympozium begins with an epic symphonic intro which once again reminds me of some kind of soundtrack. Still, it's a proof that Mustis is either a smart plagiator of unknown soundtrackx OR a genius of this century.

Honestly, I hope it's the second. The non-symphonic keyboards add yet another Cradle of Filth feeling, to which Shagrath's whispers and other types of vocals contribute even more.

Luckily, Mustis makes a return in the middle of the song with his orchestral strings, and Vortex joins him in creating another musical feast for the ear. The rest of the song is just keyboard catchiness and Shagrath trying and failing at shrieking, but at least pulling out some kind of growls.

And thus we have reached the final track of this album: Perfection or Vanity! This instrumental reminds me a bit of Glittertind due to the usage of all instruments, not just keyboard, although this one doesn't contain shrieks. The orchestra manages to create an epic feeling for the end of this ride on the Dimmu coaster.

The drums' slow tempo only contribute more to the feeling that this ride is almost over, and after 3 minutes the track fades away. Now this Dimmu album was great in its own way. The band had changed a lot with it, it was a new style, a new beginning. This album had some awesome masterpieces on it, but sadly, the lesser songs had ruined it with their Cradle of Filth wanna be efforts. But hey, it's still better than what will follow Consequently, this album is also the reason I was so disappointed with every subsequent DB album.

Every element is at its peak, with exemplary sections in all the songs. There is an urgent energy on the album, and yet Dimmu seems to pull it off with ease, coming into their stride and not overdoing anything. Nothing feels overpowering, clearly Dimmu Borgir was already established at this stage, not having to try too hard, it all came naturally.

They seem to have an air of superiority here, a confidence in their abilities. The fretwork on this album is excellent. Every song has memorable riffs and innovative composition, immensely powerful in every note. There is also enough variety present to make this an enthralling album, with many tremolo sections and fast interludes. The bass, not to be outdone, keeps up with all of this, and has a smooth finger-picked sound devoid of distortion.

This compliments the forceful guitars well and keeps everything grounded. Nick Barker is certainly a metal legend today, and this is for a good reason.

The speed of his blasts and double-bass never ceases to amaze. Every great guitar riff is punctuated with an insane blast or double-time on this album, to the extent that one is constantly aware of the drums, being almost foremost along with the other instruments. His midrange screams are very powerful and aggressive, a DB trademark.

One irritation, however, is the effects added to the vocals at times. The production on this album is enormous. An atmosphere leaning towards the operatic is notable, with an effect that sounds like Dimmu Borgir is playing in a massive hall, with empty echoes and subtle symphonics. In short, this album sounds huge. Dimmu Borgir truly hit their stride here, getting the sound just right and writing some classic black metal anthems in the process.

The music is brilliant, proving Dimmu were frontrunners for the genre in their day. Even the album's artwork deserves mention. Unfortunately, this album gave me too much hope for the future, and it created expectations that future DB albums could not fulfil. Xibir orchestra Born Treacherous Gateways Dimmu Borgir orchestra Dimmu Borgir Chess with the Abyss Ritualist A Jewel Traced Through Coal Eradication Instincts Defined orchestra. CD 2: Live at Oslo Spektrum Vredesbyrd Progenies of the Great Apocalypse The Serpentine Offering Fear and Wonder orchestra Kings of the Carnival Creation Puritania Mourning Palace Perfection or Vanity orchestra.

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Dimmu borgir perfection and vanity