Dissection
Reinkaos

THE REVIEW

In the history of extreme metal of "Nordic" origin, whether it's black, death, or something else, there has always hovered a form of "ritual or cultist respect" among the enthusiasts, aided by the impressive myriad of furious (?) metal bands and groups devoted to the glorification of the Dark Forces (??) through gut-wrenching distortions, battler rhythms, and demonic screams (???). The detractors, on the other hand, claim the "true black metal" was (and still is) an adolescent outlet, too often ending poorly (Burzum, Emperor...).

In this crowded hall of funny marionettes, luck has too often favored bands that never truly boasted merits, between those who raised their limits and stereotypes as banners (Immortal) and those with works slightly more than amateurish (Dark Throne) that began the "raw black" trend that so amuses face painting fetishists. However, the real mass success has eluded them, being claimed by those who filled their sound with orchestras and dazzling costumes (Dimmu Borgir).

Amidst this amusing circus, there are few bands worthy of real interest but unfortunate, first among them the Swedish Dissection. Too black to appeal to the alternative with a red-hot tuft, too death for the lo-fi audiocassette collector, too varied and intelligent for both, at least musically.

After a good debut album, the band released the beautiful "Storm Of The Light's Bane" in 1995, an epic but never garish melodic death/black pillar, magnificently structured. After such a significant work, the path seemed clear for success, yet the leader Jon Nödtveidt thought it appropriate to commit murder and spend the next decade in the welcoming Swedish prisons.

In 2006, both Nodtveidt and Reinkaos were released, and things had changed, a lot. Did imprisonment also lead to artistic maturity? Perhaps, if not for the fact that just after the Return tour (or rather, Rebirth), the frontman decided to end this life in a spiritual elevation ritual (????). Simply analyzing the last work of the late Dissection, one immediately notices that the new path taken was very different from the '90s career. The black is completely gone, the death metal has remained in its place while the rock (exactly, particularly the '70s one) has crept into the fabric of these 11 tracks.

It begins with the intro "Nexion 218," a short yet evocative instrumental that suggests the melodic vein that will delight listeners' ears throughout the album. The following "Beyond The Horizon" is, in reality, not as memorable as one would expect from a first song: its progression is quite standard, and the chorus is not very catchy. No worries, because the next track, "Starless Aeon," from which a video was made, is definitely successful; the guitars scratch without crushing, the voice screams with rage but is not cacophonic, the rhythm doesn’t perform miracles but supports the piece well until the beautiful chorus. And here Nödtveidt's lead guitar weaves precious threads in the song's power.

Absolutely exceptional is the subsequent "Black Dragon," introduced by an acoustic arpeggio and guitar echoes that lead into a '70s rock riff (let's say Rainbow reinterpreted by a melodic death group). A solid rhythm and expressive vocals (if we don't expect Roger Chapman-style vocalizations) give a "groove" air to the composition. The following "Dark Mother Divine" moves along the same coordinates, with a bit less spark. Then comes the more metal "Xeper-I-Set," a good mix of melodic death and Slayer-like rhythm.

"Chaosphobia" relaxes the ears for 40 seconds with its acoustic guitar arpeggio, but "God Of Forbidden Light" attacks again with a '70s riff on metal textures (not so extreme), and like "Black Dragon," hits the mark: especially, the leader’s lead guitar gives us more memorable passages and notes. When the songwriting is inspired, there’s little to complain about. The title track is entirely instrumental, and if it weren't for its length, it could be called a mini-suite: indeed, there’s even a progressive air (rock, not metal) on epic melodies (without cumbersome keyboards or roaring effects) of classical inspiration. Great solo performance, by now there’s no need to underline one of the strong points of the work in general. A bit interlocutory is "Internal Fire," similar to the opener (intro excluded): pleasant melodic death metal but a bit insipid.

We have reached the closure, entrusted to the already known "Maha Kali," which is symbolic of the entire LP (and the lead single of the same): melodic metal mixed with classic rock (with a slight prog-rock flavor), all seasoned with crystalline sounds. Once again, the songwriting is excellent, the guitar sounds inspired, and the female vocal interlude is successful.

A small note on the lyrics, most might skip this line: they are part of a proto-philosophical concept aimed at the "Sonic Invocation of the Infinite Dark Eon." One can immediately understand what the lyrics might talk about, written "Behind Prison Walls," quoting literally...

Not surprisingly, this album did not sell well, leaving the most ardent old-style fans dissatisfied, who cried out for yet another betrayal, and did not attract new listeners, perhaps also due to the now consolidated Dissection/Nödtveidt/prison image. A pity, as the album itself (stripped of its philosophical or cultist aspect) is truly valid, which does not reach the status of an absolute masterpiece only because of a couple of less successful episodes. Is it a coincidence these latter are precisely the most classically death metal? Perhaps the dimension the group was pushing into foresaw a departure from the metal scene. I don’t think we’ll ever know for sure.