Reaping the World Winds

I'm not really sure what happened to black metal artists in the early 2000s, but it seems like a lot of them were really concerned with pushing the genre into THE FUTURE or whatever. Ulver, Arcturus, Dodheimsgard, Aborym, even the later Emperor albums sort of hinted at this new direction. It's not as though the end results really sounded much like black metal, as anyone who has ever heard The Sham Mirrors can tell you. The tendrils of metal influence lurk, but only in the background. I guess there's only so many tremolo riffs and blastbeats one can play before wanting to expand their artistic palate in other ways.

Dimension F3H can almost immediately be seen as a part of this continuum, and Reaping the World Winds is probably one of the weaker albums to emerge out of this movement. Hideous album cover aside, this doesn't really strike me as a massive step sideways from the parent project of Mr. Morfeus, Limbonic Art. Say what you will about modern Arcturus or Ulver albums, they're distinctly different from earlier work by those bands. Reaping the World Winds has a different feel on the surface than Limbonic Art just by virtue of not relying on black metal theatrics, but the vibe you get from both bands tends not to differ much when all is said and done. The keyboards/synths might be emphasized a little bit more with Dimension F3H, but they still sound a bit tacky and contrived in their cultivation of atmosphere in almost the exact same way Limbonic Art did. While the synths are intended to be the focal point, they don't completely dominate the atmosphere--there's at least a few moments where both bands throw some metal riffs in to reminds you that this is supposed to be heavy and intense or whatever. Dimension F3H just uses vague thrash/power metal riffs instead of black metal ones. Some elements have been substituted for others, but the balance between them tends to be similar in both projects. As such, Reaping the World Winds occupies the same place in its respective scene that Limbonic Art did. Both are third or fourth-tier bands that are competent and workable, but nothing particularly spectacular. This mostly stems from the oversaturation of synths and all the bells and whistles that accompany them, which are always a big turnoff in metal for me. Both bands love constantly hopping between strange and vaguely interesting ideas, but they do so at the expense of real substance or grounded songwriting.

Maybe I'm being a little bit harsh, but even though I own In Abhorrence Dementia I could never fully get into Limbonic Art, and all of the elements that held me back just rear their ugly head all over again when I listen to Reaping the World Winds. I get that they're trying something different, but many of the same faults are present. When Arcturus transitioned into a less black metal-influenced style, they were able to pull it off because they had Garm and ICS Vortex singing at the helm, and both of those guys have great voices. Nesmoth is definitely not at the same level these guys are with his clean singing, which he pretty much does for the entirety of the record. It's not that he's got a particularly awful natural timbre (though I doubt it's gonna blow you away or anything), it's more that his vocal melodies often seem ill-fitting and grating in the context of the music that surrounds them. Because the guitars provide the root chords and the synths dance around them with the melodies, it is unclear what the vocals are supposed to bring to the mix at times, as they don't really gel with either of the other two melodic components in the band's sound. Every now and then they have their moments, but they're often quite heavily saturated in harmony which only contributes to the disjointed feel Reaping the World Winds has. Everything just sounds like it's trying to be over-the-top and mindblowing in this really obtuse, artistic way, and as a result this album suffers a bit from "special snowflake syndrome": because everything is trying to stand out, nothing stands out.

I suppose this is kind of a novel idea for like ten minutes, maybe even a little longer if you have an affinity for electronic music or synth-heavy metal. Really, though, the same general concept that Dimension M3H is executing here has been done by better bands at least a few times over now. No matter what he does, Mr. Morfeus will always be a third stringer trying to keep up with the big boys. The only tracks I found memorable in this mess were the two instrumentals. "Waterworld" and "Reborn" just focus on the electronic side of things, and both tracks are much better off for that, although it should be said that I have next to no knowledge of that sort of music beyond a couple Autechre albums I enjoy from time to time. I would like to see Dimension F3H do a full album of electronic music, because playing metal certainly isn't doing them any favors. Just buy The Sham Mirrors instead and skip this.

Dimension F3H calls their enigmatic style "Bladerunner thrash", and while that is a surprisingly accurate atmospheric tag, it can't even begin to properly summarize what Reaping the World Winds actually sounds like. Combine dark, overacted power metal vocals with thick-as-molasses orchestrations whose only demarcation comes from their own obscure magnitude. After the final layer of unorthodox riffs is added, the resultant outcome defies classification.

Morfeus' adoration of electronic music is hardly a secret, as his concerted efforts at incorporating ersatz appeal into his Limbonic Art compositions ended up becoming the single most defining sonic attribute of said band. Released during Limbonic Art's temporary dissolution between The Ultimate Death Worship and Legacy of Evil, one can almost hear parallels in the riff delivery and esoteric synth textures here. The electronica elements have an archaic '90s appeal to them, stealing the spotlight and demanding attention when they appear. The most audacious examples are the instrumentals. "Waterworld" is a protracted, low-key affair that really comes alive during it's final three minutes. The bonus-track "Reborn" has a gabber-influenced spastic disposition that clearly draws from more mainstream influences.

Reaping the World Winds is naturally at it's most convincing when it walks the genre-tightrope, arming itself with both industrial harshness and stimulating synth melodies. "Dimension 6" and "In a Dreamlike State of Mind" are the two most overt highlights of this approach, the latter of which is supremely dark without becoming garish or trite. The melodic riff that constitutes the second-half of "Dimension 6" thrashes by at a decent velocity and adds some credibility to the heavier side of the album. Dimension F3H thankfully haven't forsaken the almighty riff in an attempt to inveigle the listener with electronic bluster. Morfeus is an exceptional riff-smith, and his distinctive style still forces itself to the surface even when he attempts to water down his output. Reaping the World Winds' delivery isn't as mechanized or audacious as Fear Factory, leaning towards more traditionally-orchestrated compositions supplemented by their futuristic conveyance.

Nesmoth's harpy-like tenor is dripping in enthusiasm and diversity, ultimately embodying a "love it or hate it" aesthetic that can be quite polarizing. His robotic drawls can grow a bit tiring, but that's not to say that he doesn't succeed at what he sets out to do vocally. "With an Overdose of Ecstacy" has some more uplifting, catchy vocal and keyboard lines that very nearly sound like video game music at times. Thunderforce pitter-patters away on his plastic sounding kit, occasionally bolstered by synthetic drum samples and other supplementary percussive elements. In fact, Reaping the World Winds is worth the price of admission just to see how Morfeus writes with the inclusion of a human drummer as opposed to a programmed kit.

Dimension F3H are one of the most unique bands I've ever had the pleasure of reviewing, and that lack of restraint does the band plenty of favors in their acerbic delivery. Reaping the World Winds won't appeal to many listeners, but it is aware of the narrow medium it occupies and makes the best of it's eclectic persona.

A sonic journey through the darkest pits of a cybernetic hell. A flurry of pain and ecstacy, a torrent of dreamlike apparitions in a storm of unreality. Enter the Dimension F3H.

"Reaping the World Winds" takes you to a land of oppression, escapism and hopelessness. The imagery and ideals That are presented within the music is reminiscent of Blade Runner and Dune, but more apocalyptic. In a dying planet where humanity has lost all hope for the future, people turn to any form of salvation for their spirit and mind. Psychadelic drugs, S&M and any other method of escapism to turn their attention away from the decaying of society and life is used. Inevitably their world will come to an end, and they know this.

Dimension F3H has a unique musical approach that intertwines with every other aspect to create a soundscape that blends perfectly with the lyrical concepts of the songs. A heavy usage of electronics and samples enhances the mood in a way that is not distracting, but works with each other instrument. The 'metalness' of the music is not lost within the usage of samples, as the riffs and phrases feel very heavy and not in the least used as just another element, the music is clearly predominantly metal. At times the music is beautiful orchestrated in a symphonic style, other times there is a cold and mechanical feel to the music. The vocals are handled quite well in a style that is both dark and appealing, and cohesive to the style.

The album opens with the title track "Reaping the World Winds", and strongly presents the theme of sadism and masochism as means of mental stimulation. The thoughts of the album progress on this subject with other topics including the cyber-culture as we know it today(and how it is used by people to remove themselves from the real world) and what I can only interpret as the self-imposed destruction of society due to technological means. Closing the album is "The Dawn". This song ends this magnificent opus on a bittersweet note. The world is consumed alive by the armies of hell(relation to the Juedo/Christian hell not implied) as they emerge from the bowels of earth, joyously stating that "you will never live to see another dawn".

"We are the 3rd generation Armageddon
Like ghosts we move
Lost souls in a choir of sorrow
Dancing to a mournful symphony
In a world that lives no more"

The label of “space/industrial metal”, as this band’s M-A page lists, evokes images of perhaps something like Arcturus crossed with Godflesh. In this case, that’s not even close to what Dimension F3H really sounds like. Instead, picture a darker form of power metal, one without the high-pitched vocals and sing-along choruses. Toss in a good bit of atmosphere in the form of sound effects and ambient keyboard work, and make the whole thing generally bizarre with strange lyrics, silly band member names, and outlandish artwork. The end result will be something approaching Dimension F3H.

The bulk of the material on this disc genuinely feels like metal. That is, it seems as if the songs were written as metal songs, with the industrial/techno stuff added in later. Aside from a couple of tracks that are keyboard-dominated (and, accordingly, are complete wastes of time), most of the stuff on here isn’t nearly as “weird” as you might first assume. Vocalist Nesmoht comes from Arch Nemesis, another dark Norwegian power metal band. Since very few people seem to have ever heard them, it’s worth repeating: Nesmoht sounds like a less-dramatic Tom Englund, possessing a pleasing mid-range voice that stays firmly within its limits most of the time. Not the most technically competent singer, but his style fits perfectly here.

The main cog, however, is Morfeus, he of the ever-evolving Limbonic Art. Aside from his ability to coat everything in a very thick atmosphere, little on “Reaping…” sounds anything like Limbonic Art. Actually, the atmosphere on this disc is about the most impressive thing, as keyboards are used heavily but, thankfully, in a highly ambient role. The music ranges from mid-paced rumblers to some fast blastbeat-driven thrashers. The two aforementioned throwaway tracks – “Waterworld” and “Reborn” seem extremely out of place, perhaps better fitting on something like a Fantomas disc (not my cup of tea at all). Otherwise the songs are quite excellent, especially the awesome title track and the fast-moving “Betrayer”.

The ubiquitous Stian Kristoffersen even lends his talents here, providing a rock-solid percussive foundation. Plus, even though his drums sound just about the same on all discs he plays on, somehow here the slightly artificial sound (production-wise) of his chosen kit fits perfectly. The production is equally solid for everything else, with a very “roomy” sound that, instead of stifling you, actually seems inviting, all the more to let the keyboards flood the songs with atmosphere.

Accurately describing this sound is a little difficult, if only because this sort of metal is rather unique. Your best bet is to head to their homepage for samples, because even though the essence of “Reaping…” is dark power metal mixed with slight hints of something like newer Arcturus, I myself even find that hard to really appreciate. They refer to themselves as “Blade Runner thrash”, so I’m not the only one who has trouble giving a helpful description of their sound. Perhaps another approach would be to imagine if Emperor had moved into the power metal field after “Prometheus”, replete with simpler song structures and all clean singing. Again, though, that’s a lot easier to write than visualize.

This album’s an easy recommendation to fans of darker forms of power metal, as well as to fans of lighter black metal with some clean vocal work. Heck, even fans of stuff like Arcturus and Ulver may like it, though it is more traditionally structured than some of the ultra-weird stuff out there. Just don’t let the “industrial” label scare you away – this has very little in common with acts like Ministry or the aforementioned Godflesh.