Dimmu Borgir’s eighth album, Abrahadabra, releases today in the US, bringing the Norwegian band’s most symphonic offering yet to this side of the Atlantic. For old fans of Dimmu Borgir, it is necessary to approach Abrahadabra with an open mind; Dimmu is no longer an old school black metal band (nor have they been for some time), and it is hard to say that they play symphonic black metal, either. Dimmu has, as always, carved their own niche in the spectrum of heavy metal with Abrahadabra, ignoring critics and antediluvian fans alike. Abrahadabra is not Stormbläst, and that is not a bad thing. Abrahadabra is a theatrical, epic, atmospheric, and polished offering from veterans of the Norwegian extreme metal scene who have continued to evolve and push the boundaries of metal.
Gone almost completely from Abrahadabra is the signature black metal guitar sound; the guitars are lower, often taking a backseat to the orchestral elements that drive most songs. Lead singer Shagrath has said that nearly one hundred musicians contributed to the recording of Abrahadabra, split between the 65-piece orchestra that supplies the songs with a Wagnerian quality and the choir that backs Shagrath’s throaty bark. The result is truly epic and guaranteed to scare children.
Abrahadabra, which translates loosely as “I will create as I speak,” was taken from Aleister Crowley’s Liber Al vel Legis, The Book of the Law, and several songs on the album focus on the theme of creation and rebirth; the band recently parted ways with keyboardist Mustis and bassist ICS Vortex and has stated in interviews that they have viewed the parting of ways as a chance to push Dimmu further into unexplored musical directions. Vortex, who provided clear vocals on recent Dimmu albums, has to be considered the bigger loss here, and though guest singers do their best to fill in, they cannot equal the truly unique voice that Vortex brought on previous offerings.
The choir, though, does an admirable job. It is used in diverse arrangements, sometimes harmonizing with Shagrath, other times providing ominous backing vocals. The choir is perhaps most effectively and memorably used on the song “Dimmu Borgir,” when a rhythmic “Oh-OH-Oh,” is sung throughout the song, creating an invigorating march-like feel. Other highlights include “Born Treacherous,” “The Demiurge Molecule,” “A Jewel Traced Through Coal,” and, love it or hate it, “Gateways.”
The main complaint that many will have with Abrahadabra is the reliance on the orchestra and chorus. For purists who like their black metal straight up and long for the days of Mayhem and Co., this may be a deal breaker. But if genres can be cast aside—which black metal essentially has been for over a decade—Abrahadabra will stand as an impressive addition to the Dimmu Borgir catalogue.