Review by Michael on March 23, 2026.

“Dimension: Daemonium” is the fourth studio album by Finnish Vargrav, and I have to admit that I was very excited to hear it, as this band has always been a solid constant when it comes to symphonic black metal. But can this demonic dimension live up to what the title and the very cool cover artwork promise?

First, the listener enters the gate into another dimension via a sort of Stranger Things–like intro, complete with a grim gatekeeper (is it Vecna himself?) who warns us that we are not prepared for what is to come within the next 40 minutes. Okay, maybe that’s a bit exaggerated, because what we actually get is a direct continuation of the previous albums—but at least it doesn’t disappoint.

For me, Vargrav has always been a logical evolution of Emperor’s opus magnum “In The Nightside Eclipse,” and that remains true on “Dimension: Daemonium.” Keyboards and atmosphere play a huge role in shaping the songs, resulting in a slightly ghoulish and mysterious mood that surrounds the listener while entering this strange world of Vargrav.

Vocally, a grim and evil style dominates most of the time, though here and there you’ll find some chants similar to what Emperor did after “In The Nightside Eclipse,” such as in 'Ablaze Upon The Nocturnal Realms.' Let’s hope this remains more of a progressive intermezzo rather than something that becomes a permanent feature in the future.

Tracks like 'Moonfrost Storms' or 'Bleeding Galaxies' (with a cool 'Towards The Pantheon'–style riff), just to mention a few, keep the spirit of symphonic black metal alive and show that we don’t need any Cradle Of Filth or Dimmu Borgir-style additions to get strong atmospheric music. Apart from that, the Finns feel far more authentic than their great role models. Just check the final track, 'Unveil The Enslavement Of Lunar Prophecies.' It’s a powerful, epic, almost cinematic song, and if you remember the spirit of the early ’90s, you’ll know exactly what I mean. There’s really nothing left to say after hearing that one.

The production sounds dynamic and powerful. Maybe the drums could be a bit more thunderous, but overall, this is complaining at a high level. Many great compositions have been ruined by poor sound, but here, there’s really nothing serious to criticize.

Lyric-wise, I can’t say too much about the exact themes, but judging by the titles of the seven songs plus the intro, it seems to revolve around interstellar and multidimensional concepts, inviting the listener to dive deep into a nightmarish parallel world filled with demons and otherworldly entities.

“Dimension: Daemonium” is a very entertaining trip into another realm, and if you’re still disappointed with what Emperor did on “Anthems To The Welkin At Dusk” and beyond, you will definitely find satisfaction here. It’s a lesson in symphonic black metal.

Rating: 9.5 out of 10

Review by Nathan on April 22, 2022.

This is a debut album, but this French group is by no means made up of novices, featuring known scene veterans Eloi Nicod and Thomas Hennequin. The former helped put one of the better tech-death albums of 2021 out with The Scalar Process, and the latter has many credits to his name over the past decade or so, the most notable of which would be Aosoth and Merrimack, with some live performances for Antaeus sprinkled in.

Normally I'd be wary of newer musicians attempting such a refined, uncompromising style, but Dawohl brings a fresh, tasty voice to the Marduk/Angelcorpse school of blastbeat-overloaded black/death metal. It takes all of 3 seconds for the presence of a song to be felt, with the nicely balanced production job (great fucking drum tones on here!) allowing the maelstrom to effortlessly glide through your eardrums. The tempo shifts (I would call them "breakdowns" but it doesn't seem fitting for a band in this style) are placed perfectly and are almost guaranteed to get your head nodding.

In a style like this, it can be hard for bands to create a distinct feeling that makes them stand out. Dawohl overcomes this hurdle by having a surprisingly discernible melodic undercurrent in their songs - though it's all couched in an overwhelming maelstrom of speed, guitar lines have a very clear path that can be followed, with occasional traces of mid-period Watain in the higher register melodies. Though everything's right in your face, the production and songwriting is very tight and streamlined, which is why I can listen to Leviathan all the way through and still feel like I have enough energy for another go. I don't always want a Concrete Winds-esque waveform brick to the face, because that can leave me feeling completely overstimulated and exhausted at times - this strikes a better balance between unhinged ferocity and tasteful song construction.

This stands out among a sea of cacophonous but indiscernible speedfreaks, but I expected no less going in - Dolorem Records has been quietly making a name for themselves by curating some of the tastiest blasturbation coming out of France right now. Nephren-Ka, Creeping Fear, Huronian and Storm Upon the Masses have all put out great stuff, and the label doesn't seem to be showing any signs of slowing down either (musically or productively). Get on them before they get too trendy and sell out of all their merch!

Rating: 8.4 out of 10