Dismal Euphony
All Little Devils

The Evolution of the Species.

Many bands often feel the need to leave behind already explored territories to try something new, incorporating new elements into their sound or completely transforming it.

Dismal Euphony composed two immense masterpieces of Melodic Black Metal and find themselves at a crucial phase of their career: The two-album contract with Napalm Records ends, Keltziva leaves the band and is replaced by Anja Natasha. But the most painful loss is surely that of Elin Overskott, who, thanks to her keyboards and the creation of tracks like “Carven,” distanced herself from the immanent world, rising towards the contemplation of the Infinite. The reasons for Elin’s departure are unknown, though she had within herself a Worm that slowly consumed her soul: Heroin, which became her companion in misfortune from the age of 17. Perhaps she expressed her extreme discomfort and intense suffering through music, maybe she was trying to send a message for help to this terribly insensitive world. Sadly, we will never know because Elin was found dead from an overdose in October 2004, leaving behind a grey universe that no longer belonged to her.

“All Little Devils” is the title of the band's new album, released by Nuclear Blast in 1999. The title evokes the image of devils so small and light yet at the same time terribly perfidious and sadistic. This could be the key to understanding the entire work. In fact, the first aspect of change is the lyrics. Are you familiar with the absolute poetry of tracks like “A Thousand Rivers?” Remember its immortal verses: “We are nothing but autumn leaves swirling in the circles of time/ Haunted by the shadow in our past”? Well: forget them Completely. The lyrics of “All Little Devils” are far from any poetry: “Day Of Sodom” and its hatred for what is sacred, “Lunatic” and its distorted vision of life... represent man's attachment to lowly and base feelings.

But it's especially on the musical front that several changes appear: Black in the strict sense of the term, except for some reminiscence, has completely disappeared, as have the atmospheres of the first albums, lost also due to the impeccable and clean production. Now the band's sound stands between Extreme Metal, perhaps creating the most guitar-driven album of their career (never before heard such aggressive and powerful riffs!) and Gothic Metal, which for the first time becomes an integral part of the Dismal Euphony Trademark. Another fundamental change is the vocal approach: the two vocalists (the aforementioned Anja and Ole Helgesen) intertwine their voices in an innovative way compared to the past just like the melodic lines. The keyboards still play a major role and engage in baroque virtuosity that is little, if at all, horrific.

Speaking thus, the premises would not be the best. But there is an objection: often those who have fallen madly in love with something due to stubbornness cannot conceive a change in the loved object. Indeed, if one detaches from the absolute transcendence of the first works and critically judges this work, we realize that it is an excellent work, full of captivating pieces and with rare drops in tone. The challenging task to open the platter is given to “Day Of Sodom” and its game of encounter/clash of voices, which have reached an interesting accord. The melody, which in the early works was only whispered, now erupts with heroic force . There's an alternation of more atmospheric moments with more aggressive ones. The cruelty of the verses: “Sweet child, I wish you were dead/ Sweet child, I wish you were dead!” whispered with morbid and cynical bitterness by Anja introduces one of the best tracks of the album, “Rage Of Fire,” characterized by a forceful rhythm section and decisive riffs. The piece’s paradox is rendered to perfection by Anja and Ole. The sublime interlude where only the guitar and keyboards are left alone to then continue with the reprise...A dramatic and touching piece.

“Victory” is a piece of grand impact, played mainly by the grace of the keyboards, the powerful riffs, and Anja's singing, who interprets the piece almost as if it were a paranoid chant.  The most energetic piece of the CD. The best piece however is the superb title track, the only piece that resumes the, by now lost, style of the first albums. The Extreme Metal gives way to Melodic Black and incisive rhythms are replaced by an almost doom cadence. The sound plots created by the band fascinate and wrench at the same time. The distorted and sinister chants created by the two singers settle into the brain, without any escape route. “Lunatic” boasts a pounding and obsessive rhythm. Anja performs the piece in a manner far removed from the stereotype of the ethereal and alluring female Gothic Metal singer: her singing in some moments recalls the best exponents of the Dark Wave. Watery oriental sounds serve as the prelude to “Psycho Path,” a piece that remains at mid-slow tempos throughout its duration. “I ride the psycho path to gain/The power that the sane never will obtain…”

Mystical guitar arpeggios open “Shine For Me, Misery,” another masterpiece of the album. The rain slowly falls into the darkest abysses. But suddenly electric jolt-like riffs announce the Apocalypse. A growl of despair looms: “Shine for Me, Misery!”. In the interlude, the storm subsides and only the fog remains: superb keyboard notes interpret the calm. But the violence is not defeated, so different anguishing and robust riffs overlap. “Scenario” is a successful marriage between the darkness of the guitars and the supreme beauty of the keyboards. However, the two things are not in opposition: On the contrary, the light strengthens the darkness and vice versa. The CD closes with the melancholy of “Dead Words” an instrumental piece that underscores the band’s more intimate and nostalgic side.

“All little devils are dancing in ecstasy
Inspired by the taste of horror
Proud to be insane forever
Proud to be insane”