Dismal Euphony
Lady Ablaze

THE REVIEW

We open 2006 with the review of “Lady Ablaze,” an EP released by Dismal Euphony in 2000 through Napalm, containing songs and demos from the period between 1993 and 1997, tracks that might appear in the band's future works But a lot has changed since the early days: Firstly, the black is almost completely gone in favor of something more aggressive and less icy, like death and heavy. Moreover, the band's atmospheres (except in “Lady Ablaze”) are no longer as sublime as before, veering towards something more futuristic and contaminated. Perhaps the reason lies in the fact that Elin Overskott (the keyboardist) does not play on the tracks, having left the band in 1998: A real tragedy: I adored the horrific or ethereal atmospheres she could create with her instrument, tormenting the helpless listener. Furthermore, the very talented Keltziva (vocalist) also left the band, replaced by Anja Natasha, who proves to be truly up to the band's standards, offering a vibrant, aggressive, and crazy singing. Well done! What is not clear to me is why Elin appears on the cover, having left the band. Could she be the Lady in Flames (or glowing, depending on the interpretations) to whom the title track is dedicated? The album opens with the title track: a long, atmospheric, icy piece that manages to recreate the magic of Autumn Leaves. The best track of the work. A masterpiece. A rare beauty, a sideral diamond. “Abandon” is a piece that differs from the usual Dismal Euphony songs: A very heavy piece, based only on the repetition of the same riff and is overly catchy, even though Anja gives an over-the-top performance. “Cabinet Bizzare” is an excellent intro, where the taste for horrific atmospheres that I had loved so much from the band finally returns. “150 MPH” is a super aggressive, experimental, crazy, and impactful piece: Overall, excellently executed. Noteworthy are the electronic inserts. (Another merit of Dismal Euphony is, in my opinion, the ability to blend electronics with metal without creating a mess). The CD closes with the instrumental “Bortgang,” a stunning and very atmospheric piece that evokes decadent visions. In summary: We have a masterpiece, 3 excellent tracks, and one sufficient. Therefore, it seems fair to assign a solid 4 to the band, even if it's not the same 4 attributed to other works (such as “Beyond The Veil,” which is superior to this EP by Dismal Euphony). Even though this EP does not manage to replicate the emotions and atmospheres of the past, it is nice to note that the band, despite having embarked on a new path, is still able to produce excellent material.