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Dimmu Borgir are back on track. After the very good 'Death Cult Armageddon', they once again offer us a mix of black metal and symphonic-melodic openings that, to be fair, both astonish and captivate.
However, the new album from the Norwegian combo lacks originality in its title and artwork. 'In sorte diaboli' is a rather standard title, nothing as evocative or complex as the past titles ('Puritanical Euphoric Misanthropia', 'Enthrone darkness triumphant', just to name two examples), while the artwork is almost a common theme of Scandinavian black metal, depicting a demonic figure such as the goat, in the classic position. But, apart from this slight downside, the music speaks and dispels any doubt about the group's quality.
"In sorte diaboli" opens with a classic orchestral overture that serves as a prelude to the initial "The serpentine offering". A majestic, opulent, and masterly intro that leads straight to Shagrath's piercing screams. No longer does he have master Nick Barker behind the drums, but instead, there's a piece of black history known as Hellhammer. However, despite this small technical loss, Galder's riffs (formerly of Old Man's Child) provide power and new energy to the songs. The death-like influences of 'Puritanical Euphonic Misanthropia' are definitively abandoned in this album. The first song indeed is an example of this, rich in purely black inserts enhanced by the symphonic arrangements. The ending sends chills down your spine with Shagrath screaming "Share My sacrifice!". Also noteworthy are the clean vocals of Vortex, the band's bassist. It continues with "The chosen legacy", powerful from the start and pounding throughout its duration. The titling format quickly stands out: all introduced by the article 'The', and all necessarily three letters. A concept is not excluded, considering there are 9 tracks in total, so the numerical play is quite evident.
The third track "The conspiracy unfolds" continues the compositional line of the album: more black and more symphonic, heavily reminiscent of the dreamy and sinister atmospheres of "Enthrone Darkness triumphant". I had the same sensation with "The Sacrilegious Scorn", which seems like a continuation, almost a follow-up, to the majestic and unforgettable "Mourning Palace", if not for the equally majestic melodic development with Vortex's beautiful and fascinating voice which makes the atmosphere almost romantic, and noteworthy is the excellent work on keyboards that makes the atmosphere even more dreamy. "The fallen arises" is a symphonic interlude, enriched by sinister echoes of horse neighs which then leads into the black onslaught of "The sinister awakening", direct, solely powerful, emphasizing ever more the distorted guitar pounding on evil dark riffs, and the sampled screams dear to songs like "Blessing upon the throne of tyranny" return. Fortunately, this song is also enriched by orchestral choirs, as fitting as ever. "The fundamental alienation" starts ominous and cold, claustrophobic at times, then falls into musical distress and suffering, with an almost onomatopoeic sound of alienation. "The invaluable darkness" is the right prelude, grandiose and evocative, to the end of the album, which comes with "The foreshadowing Furnace", ominous enough, closed by sinister sounds of winds and distant storms.
It's pointless to describe this jewel any further. Dimmu Borgir return in style. Forget the hesitations of a different and controversial album like 'Puritanical Euphoric Misanthropia', forget the ups and downs of 'Death Cult Armageddon', and forget the very bad idea of re-releasing 'Stormblast', depriving it of its dark magic. "In Sorte Diaboli" is a nightmare made dream, it's a journey through hell, it's an album that in just 9 tracks collects what the human mind fears most: sacrifice, bonds, alienation, and darkness.
An album divinely sinister.
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