Dimmu Borgir
For All Tid
[No Colours]
For all tid represents a side of Dimmu Borgir, and the Norwegian-
Scandanavian scene which has now lain dormant for almost a decade. Although
I am strongly in favor of removing these dirty twats from the scene at any
cost, there was a time when they held a certain amount of dedication in what
they did and what ideals they reflected. To me, it has never been the music
in particular that I have disgusted, but rather these very ideals which they
attempt to hold so high, and hope to reflect the black metal scene as a
whole. They have taken the unexusable liberty of becoming the all
representative band, publicly voicing their opinions on what this music
should and should not be. Furthermore, and absolutely unnacceptable, is the
fact that they attempt to evolve black metal into the mainstream capitalist
market, where under-accesability, and other ideals that the majority of us
hold, will be shattered with the wiles of mass production and consumer
expansion. Frankly I don't give a fuck what Dimmu Borgir does. However,
when they begin to make the claims that they still play "true" black metal,
and inevitably represent the totality of the scene, then we have a problem
that needs to be dealt with. We simply cannot allow them to go on
destroying the philosophy and ideals that have taken years to cultivate and
implore, and more further to spring into life. This art is much to
precious.
However, For all Tid does not seem to reflect their later thoughts at all, and that is why I have chosen somewhat apprehensibly to review it for LARM. I would not ordinarily pollute LARM with material from such subhuman bands, but this is different in many aspects, and should be analysed at least to a moderate degree.
This album came out in the early part of the nintees, along with the other major contributors from the Scandanavian scene, such as Emperor, Satyricon, Burzum, Mayhem, Enslaved, Darkthrone, and Mysticum. It was here that Dimmu Borgir was first developing a sound which would later be misused, and ultimately brought to a barbaric degree of faggotry. However, in this context, and this context alone, the slight keyboards, harmonized vocals, and acoustic guitars contrubue magnificently to the overall end product released upon the pysche.
The first track is a wonderfully done synth ballad consisting of powerful tones played predominantly underneath a spoken passage of Norwegian words. About halfway through the direction changes, and approaches a standstill while the keyboards persue a new course. It was songs like this that really drew me to their original style, and it's a shame they betrayed them so easily.
Track three can also be found on the seven inch they released long ago, and is an interesting black metal based song with raspy vocals and a harmoniously based guitar ensemble. The production on this version is much more cleaned up than the seven inch, and consequently does not sound nearly as good.
The rest of the album speaks for itself. Production is much more violent and unrestrained than it would ever become in the later years, and therefore this marks an imaginative era in the band's existance. Songs are very heartfelt, and stay true to the tradition of simplicity and emotional quality, which is something obviously absent in the later albums. The keyboards on this album are restrained to a certain level of obscurity, which makes their occasional presence all the more enjoyable. A great example of the Norwegian scene and how it's ideals faded so quickly from the most extreme and promising to the most cowardly. In our present day, the majority of the Scandanavian bands have redirected their focus on popularity, presentabilty, and wealth, showing themselves to be the pathetic cowards we always saw through them to be. Let this be an example that strong opinions and extreme ideals do not alone constiute a true belief! Be smart and see through this guise!
© 2002 orodruin
However, For all Tid does not seem to reflect their later thoughts at all, and that is why I have chosen somewhat apprehensibly to review it for LARM. I would not ordinarily pollute LARM with material from such subhuman bands, but this is different in many aspects, and should be analysed at least to a moderate degree.
This album came out in the early part of the nintees, along with the other major contributors from the Scandanavian scene, such as Emperor, Satyricon, Burzum, Mayhem, Enslaved, Darkthrone, and Mysticum. It was here that Dimmu Borgir was first developing a sound which would later be misused, and ultimately brought to a barbaric degree of faggotry. However, in this context, and this context alone, the slight keyboards, harmonized vocals, and acoustic guitars contrubue magnificently to the overall end product released upon the pysche.
The first track is a wonderfully done synth ballad consisting of powerful tones played predominantly underneath a spoken passage of Norwegian words. About halfway through the direction changes, and approaches a standstill while the keyboards persue a new course. It was songs like this that really drew me to their original style, and it's a shame they betrayed them so easily.
Track three can also be found on the seven inch they released long ago, and is an interesting black metal based song with raspy vocals and a harmoniously based guitar ensemble. The production on this version is much more cleaned up than the seven inch, and consequently does not sound nearly as good.
The rest of the album speaks for itself. Production is much more violent and unrestrained than it would ever become in the later years, and therefore this marks an imaginative era in the band's existance. Songs are very heartfelt, and stay true to the tradition of simplicity and emotional quality, which is something obviously absent in the later albums. The keyboards on this album are restrained to a certain level of obscurity, which makes their occasional presence all the more enjoyable. A great example of the Norwegian scene and how it's ideals faded so quickly from the most extreme and promising to the most cowardly. In our present day, the majority of the Scandanavian bands have redirected their focus on popularity, presentabilty, and wealth, showing themselves to be the pathetic cowards we always saw through them to be. Let this be an example that strong opinions and extreme ideals do not alone constiute a true belief! Be smart and see through this guise!
© 2002 orodruin