Forces of the Northern Night

Forces of the Northern Night is Dimmu Borgir's first regular release in seven years and a live album featuring the Norwegian Radio Orchestra or alternatively the Czech National Symphony Orchestra as well as the so-called Schola Cantorum Choir. Most versions of this release feature a concert recorded in Oslo six years ago and some versions additionally include an almost identical version of that concert recorded one year later at Wacken Open Air. At this point, one has to question whether this release still makes any sense. The concerts happened many years ago, live shots of good quality have been accessible on the internet since then and any fan of the band has probably already listened to or watched parts of both concerts. Whenever such a release comes around, I like to give a positive example of how to do things correctly by mentioning Red Hot Chili Peppers' Live in Hyde Park, an energetic, energizing, generous, phenomenal and unpolished release featuring performances recorded in late June 2004 which were physically released with a detailed booklet in early August 2014. If it took the producers of said band less than one month and a half to release one of the best rock live albums with a running time of over two hours, why did it take those who are responsible for Dimmu Borgir's releases almost seven years to release a show of a running time below one and a half hours? Why do we need two shows with the very same set lists? Why do only some versions include a short documentary and why couldn't the label come up with some more extras after such a horribly long wait time? Why was this late effort released in seven different versions? Honestly, those who are responsible for this release should be fired.

Let's discuss the music on this release now. First of all, the set list clearly isn't a perfect choice. The concert's length is still acceptable but the band mostly focused on reinterpreting songs from its last studio album Abrahadabra which received lukewarm critics at best and which was already heavily orchestrated which means that the original versions aren't that different from the live cuts. It would have been more challenging and interesting to reinterpret more songs from the band's early years and replace the artificial keyboard sounds of yore with real orchestrations. In addition to this, the concerts feature a handful of songs where only the orchestra performs and the band isn't even involved. Instead of getting one hour and a half of Dimmu Borgir supported by the Norwegian Radio Orchestra and Choir, we rather get a Norwegian Radio Orchestra and Choir performance inspired by Dimmu Borgir's music with a few appearances by the band.

If one has to wait six years for a live release, one should expect an outstanding production. This live record isn't as perfect as one could have expected but it delivers at least an above average mastering. Both the epic orchestrations and the metal instruments are audible and complement each other rather well. Some passages are though slightly overloaded in my opinion which was already the case on the last studio record. A more balanced and smooth production could have added more dynamics to the sound in my opinion. There are only few but energizing communications between the band and the audience. The cheers of the fans sound surprisingly loud in the few calmer moments of the show and have probably been increased in volume during the mastering process. This procedure is somewhat artificial but it works rather well on the final result. The few moments where one can hear the crowd are actually quite intense.

Concerning the performances, the band, the orchestra, the choir and some guests all deliver the goods. The classically trained musicians and singers deliver an expert job while the band is really into the show and playing with all its passion. The atmospheric visual aspect of the show completes the perfect entertainment. The fans have also clearly enjoyed attending the show as one can both hear and see.

In the end, Forces of the Northern Night convinces with epic settings, an above average production and stunning performances. On the other side, the set list is rather unbalanced, the release comes several years too late and the content could have been a little bit more diversified after such a long wait time. This means that positive and negative aspects of this release are equally balanced. I would suggest purchasing this record if you are a die-hard fan and collector or if you haven't purchased any of the band's records yet and want to get a first idea of what this band has been doing over the past few years. Personally, I would purchase the record for a reduced price but clearly not buy one of the fancy overpriced box sets or limited packages. Let's hope Dimmu Borgir comes back in full strength with a new studio album by the end of this year.

They finally got their asses together and released the DVDs, after five years, and unconvincing delays. I see that here there isn't a vibe regarding the release, hinting of a probable lack of interest in the band by now. If that's the case, let me tell you that this is their best release since 2005. And visually speaking, it is their best ever. Seriously!

First, the menus are simplistic, with nothing worthwhile to speak of: a picture in the post-Death Cult style, a lame industrial sounding background tune, and the standard options settings. One thing I must mention, but it is up to each listener/viewer - if you could first check the bonus material, featuring the creation of the stage, the relationship between the band and the choir and the KORK orchestra, and the recording nightmare by an entire army of sound engineers, it will give you a new perspective about their quest for the perfect professional sound. And the theme of the release seems to be just that: experience their new sound, with all their gizmos, which leave nothing to chance.

The set list is quite disappointing, lacking in many of their powerful songs from the '90s, such as The Insight and the Catharsis, and The Promised Future Aeons, both easier to adapt to the orchestral style than Mourning Palace. Of course, the set list is their most homogenous to date, being loyal to their theme, thus creating a feeling that this product is stronger than many of their studio albums, including their last one. Which is true, as at least the Oslo show is much better recorded and mixed, with the live feel being absent in the studio, which is a shame. Every song seems to get a better treatment, with the guitars being more upfront, as well as the choir, which shines especially when singing Snowy Shaw's parts.

Chess with the Abyss gets the best treatment, as the choir dominates, with the chanting and the singing, making the song one of the more sinister here. The guitars feel more black metal, although the grooviness of the riffing highlights the weakened state of the guitar department of the past two albums. Shagrath also has his best performance since 2003 (or even 1999?), as he demonstrates his prowess as a frontman, even if lacking as a vocalist. The lower and midrange vocals are his best in a while, while the upper one still sucks. Here the screams; they are atrocious!

The rhythm section is tight, while the keyboards feel really unnecessary, as the orchestra and the choir do their bits quite well. And then it strikes me: they are for back-up! Yes, the whole thing has this fear of screwing up, as the keyboards double the choir and the orchestra, while there is another layer of vocals doubling Shagrath and Agnete. While it is understandable as everything needed to be perfect, it gave the feeling of dishonesty. Of course, Dimmu is known for playbacks during Puritania and Progenies (which only the Oslo show, doesn't happen for some reason), but now it also feel ridiculous and a bit outrageous.

More on the visual side of things, Shagrath rules, as he gets dramatical at times, frequently engaging literally everybody, while staying professional. The whole band also frequently changes their costumes and instruments, reminding everybody of Metallica of late '90s. The only one receiving a haircut here was Silenoz, as it was expected, as his hair has definitely given up on him. Maybe becoming fed up with his repetitive lyrics? At least on the Oslo show, there was still some headbanging. Heck, that show would have been so not out of place, if being played in the '80s! It really is awesome!

The Wacken one is a letdown, as the playbacks returned, there was almost no headbanging from them, everybody felt tired, and the sound was lacking here and there. Eradication Instincts Defined sounded worse, the choir more silent, and the Shagrath's charisma was more of the same as always. If this would have been the first disk, then I think I would have found it passable, but now, after seeing the Oslo show, it really is a letdown. The moment before Vredesbyrd is the best one for me, with the second being just before Mourning Palace, with Shagrath becoming nervous, a bit incoherent and nostalgic about the then-upcoming 20th anniversary of the band. He can be quite moody! And before Perfection of Vanity (the irony with this one and the shows), everybody felt eased that the show was over, notwithstanding the awful sound anymore. It really shows how much of introverts they can be, loving the indoor setting more, and it is there where they really shine.

I don't know what to say at the end: it is their best release in a while, and I truly want them to stay more in the Oslo style, and not in the Wacken one. It kind of almost ruined the Wacken myth for me, as I like to go to concerts for the bands, and not for the extras, with them being seen more comfortable and energetic in an indoor setting, and also more professional sounding. That feeling has not been captured in any of their live releases, except for the Godless Savage Garden live recordings. Fuck, this thing makes me so nostalgic! And it doesn't have any songs from the '90s, except Mourning Palace! Check it out!