It’s been three years since the release of In Sorti Diaboli and thus we were kind of due a new album from these symphonic BM maestros. Let’s face it, the name is pretty crap and conjures up awful images of cheesy magic shows which hardly fill me with confidence. Ten minutes of research however informs me that the translation for the word is ‘I will create as I speak’ and comes from Alistair Crowley’s Liber AL vel Legis, or The Book of the Law. They have deviated from their pattern of triple-worded album titles, the only other example of such being their 1996 album Stormblast and Silenoz has in fact stated that this was an intentional thing to move away from that expectation.
I must be in the minority I think, but I actually really enjoyed the 2007 release In Sorti Diaboli and think it received some unfair criticism from fans. That said, I wouldn’t go as far as to say it was the best album of their career. On first listen I wasn’t completely blown away by Abrahadabra, but the more I’ve listened to it the more I’ve found myself getting into it and really think there are some rather stunning tracks on this album. As usual this is all very polished with a huge amount of bombast – Dimmu Borgir aren’t a band to do things in half measures and there were over 100 musicians involved with this release including the Norwegian Radio Orchestra and the Schola Cantorum Choir. They certainly make an entrance with opener ‘Xibir’ and this marches in with an incredibly dark overtone and a ton of atmosphere. It’s got all the pomp and spectacle of a film score from a massive blockbuster and part of me expects to hear this accompanying moments in the forthcoming Harry Potter movie. Okay, the music is very dark and sinister but in that glossy family friendly way which you really have to expect here.
‘Born Treacherous’ follows on fantastically and has that confident stride. Sturdy riffs bristle like spiked wristbands while crepuscular keyboards twinkle in the mix and as the music breaks up an ominous choir shifts through with an array of creaks, croaks and chants that makes it all sound rather creepy. ‘Gateways’ opens with a Gregorian chant and a blast of drums leads us to a wicked little melody. I absolutely adore the vocal parts on this one – clean female vocals courtesy of Agnete Maria Forfang Kjølsrud are completely captivating, and I have no idea if it is her singing on the chorus but it sounds like some kind of maniacal demon child crying out and sounds really sinister and is a particular highlight for me.
‘Chess with The Abyss’ swaggers in with apocalyptic urgency before swinging into a circular rhythm that sounds fierce and aggressive as it breaks with a firm crack of the whip before returning to the start. There are some mighty hulking riffs on ‘Dimmu Borgir’ (whoa, that was unexpected!) and the drums roll steadily along as all gets rather stormy. ‘Ritualist’ is another favourite with its dark, mystifying aura laced with dazzling intrigue. Snowy Shaw lends his vocal tones to this one and they fit beautifully coming off powerful and incredibly histrionic. It’s worth mentioning there are a number of guest vocalist/musicians present on this album including Kristoffer Rygg from Ulver who sings on ‘Endings and Continuations’ and Andy Sneap who provides a couple of lead guitar parts on ‘Gateways’ and ‘Renewal.’ There are plenty of mighty stomping rhythms, and grandiose displays of symphonic bombast and generally it’s a well constructed album with some generally excellent tracks on it. Dimmu Borgir will always have their detractors, but those who aren’t afraid to enjoy a band that have achieved success and popularity and who have stuck with this band in recent years will not be disappointed.
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