Δ σκιά的音乐

Line-up: Sture - Vocals, Guitar Strom - Guitar Hvàll - Bass Steingrim - Drums 1. Arche 06:44 2. The Blood Eagle 03:56 3. Wolverine Bastards 04:27 4. The Sound of the River 04:42 5. Fire on the Mountain 05:08 6. The Others and the Look 10:29 7. Slave 03:54 8. Welcome to the Asylum 03:22 9. Then We Die 05:54 Total playing time 48:36

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A Definite Improvement - 70% Written by NovembersDirge on September 26th, 2010 It’s that time again! Dimmu Borgir is releasing a new album. It’s been a while, actually, and after having a scruff in the media with former keyboardist Mustis and having the mighty vocalist and for show bassist Simen Hestnæs leave the band (to the joy of Arcturus and Borknagar fans), there was actually a bit of anticipation to see what would happen with this album. I, like many, believed what Mustis said about writing all the music in the band and not getting the credit he deserved—and Abrahadabra proves that I think—but instead of being an indictment of the band, it may have been an idictment of Mustis’ writing. I have to be honest with you, though, I haven’t been interested in a new Dimmu Borgir since Puritanical Euphoric Pretentiousness was released in 2001. While I saw the band live on that tour, I was just generally unimpressed with the record. This was followed up by the even more mediocre Death Cult Armageddon, a re-release of Stormblåst (that admittedly I never heard) and 2007′s In Sorte Diabli a record that in spite of the size of Shagrath’s headpiece, wasn’t at all interesting (thought the imagery was really the height of their promotional strength). These records have just been getting more and more stale and uninspired, to the point where the only reason I was going to check out anything that had to do with Dimmu Borgir was that they had a devil shooting fire out of his/her head on their mightily designed webpage (sadly, said devil is now gone). So when I first got Abrahadabra I was pretty much expecting another steaming pile of shit, but this time sans their excellent vocalist and the guy who’d been doing all their orchestral programming and writing (if you believe him). Of course, two things may haveslipped my attention—first off, Galder is in the band and his Old Man’s Child records have riffs upon riffs upon riffs that rule. And secondly, Dimmu Borgir is Dimmu Borgir, they’ve got the money to hire people to make their orchestral stuff not suck—and not suck it does. So instead of being a heaping pile of evil shit, this record has some pretty awesome stuff on it. Let’s talk about those awesome things—first, the production is amazing, the orchestrations are really, really good and the use of a real orchestra and choir adds a dimension to the music that really had been missing on their previous stuff (despite their orchestrations being very, very professional sounding). Secondly, the writing on here is just really outstanding in certain places. While the lyrics on the opening track “Born Treacherous” are treacherously stupid, the music itself is riffy and awesome. “Gateways”, the other single, has some of the best vocals I’ve heard in a long time from the female side (turns out Djerv frontwoman Agnete Kjølsrud is a hot commodity in Norway right now). The track “Dimmu Borgir” is actually pretty awesome, with the orchestrations really showing off the best of the melodies the song has to offer, and the same is true of “Ritualist” as well. This record really has life, and it has continued to grow on me as I’ve listened to it more. I wasn’t so impressed at first, but the more I let it get under my skin the better it’s gotten. This really is the first Dimmu Borgir record that I would actively choose to take out and listen to since Spiritual Black Dimensions (which is my favorite). While this is not the Dimmu of old, per se, these guys didn’t sound like this early on not because they wanted to have lower quality production and cheesy quality, but because they were a metal band from Norway without a lot of commercial success. Now they have the money to put out the over-the-top products that they want to put out—and they do that very well, regardless of whether or not you like it. While I have minor complaints about the record, for example that in several places the choir sounds like it’s straight out of a Harry Potter film (“Bum, bum, bum, BUM BUM BUM BUM BUM!” Such a bad choice..) and the clean vocals (with the exception of Kjølsrud’s and certain parts in “Endings and Continuations”) are not as good as Simen’s, I think in general this is a step in the right direction. If the band can continue writing this kind of material with strength and conviction and keep the budget high enough to really get an orchestra to do exactly what they want, they’re going to continue producing good records. Change may have been the best thing for the band, while there may be some mediocrity going on here (there is just some filler on here), I’m glad to see this giant of commercial black metal right the ship a bit. Originally written for AngryMetalGuy.com.

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早就有了这张专辑，听得次数不多。但是今天一整天坐在电脑面前，却一直在听这张，因为突然感觉到了点忽略许久的东西。 我小的时候，不像现在。那时候可以在任何地方找到快乐，一块石头，一片沙子，一只蝗虫，甚至几片树叶都能拿来当人物，然后自编自导剧目，一个人在那里可以玩得不亦乐乎很久。我也可以安安静静的在家里画画，画出很多怪物和机器人，后来迷上恐龙，画了好大一堆，还有文字说明，现在还在家里。我觉得家里很好玩，后院很好玩，草场的草坪很好玩...只要是能让我一个人安静地展现内心世界的地方，全部都有乐趣... 现在呢？当肉体成长成现在得我，带来的是满脑子的欲望和现实状况在互相纠缠，成长中的痛苦：孤独，失落，愤怒...没有哪天不在敲击我，让自己烦躁不安。很少有哪一天真的过的很开心。但是我知道一切都是必然的。多年的经验已经让我能身在矛盾中，却把自己放在矛盾之外去分析问题，反省自己，尽量在宏观的范围里找到真相，这样能让自己冷静，看清本质。但是还是必然的，我们身为肉体的人类，就受到肉体的约束。我向往纯粹的精神世界，但我的肉体却告诉我必须先判断肉体的价值，我们对美的评价，是我们肉体感官上产生的东西，最终我们的文化就以感官定义了美，然而完美的肉体并不多，所以我们对完美感官的追求最后，大多数以失败告终，于是，我们想要更多更多更多...抽去肉体的基础，我们不存在；抽去感官的审美，我们将不是我们，我们的文化将不复存在；抽去对这种感官的依赖，我们将不再有欲望；抽去欲望，我们将静止，迎来的是缓缓而来的死亡。最终，像许多选择的结果一样，我们无奈，而又必然地选择在了在矛盾中生活，在矛盾中挣扎。 偶尔，会不想去想矛盾，不去想未来，甚至不想去分析太多。听他们的歌，我的想法只集中在了一点上：当我头脑发热地想要更多的物质，更完美的爱情，更大的野心的时候，这张专辑让我想起曾经儿时的自己的，曾经喜爱，追寻的东西，那些简单但纯粹的东西。于是突然发现，自己也许已经变成了小时候自己无法理解得那些人-大人。

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