Review by Jeger on May 17, 2026.

Norwegian Symphonic Black Metal royalty, Dimmu Borgir, are set to embark upon another era; another spell of time in which to define and to shape their craft in all new and exciting ways. Another Season to spellbind the Hordes! And to prove once again who the elite presence on the SBM scene is and always has been. From their humble "For All Tid" days (their finest work) on through and past the tragedy known as "Abrahadabra" into our present day - a time of Symphonic BM stagnation - Dimmu Borgir has been the dominant presence, even considering some of their less-than-savory LPs. When was the last time these guys even released a decent album? Because 2018's "Eonian" was forgettable… The wait. Black Metal bands are notorious for it. It's been 11 years since the last Gorgoroth album, Emperor has been way long overdue and Dimmu Borgir here have just been dicking around: getting their beauty sleep, sewing their battle-vests and eating lots of fårikål… On May 22, Dimmu Borgir will release their long-awaited new LP, "Grand Serpent Rising", via Nuclear Blast.

What Symphonic Black Metal has become, what this new abomination of an album is all about would probably make Dimmu Borgir's past selves throw up in their mouths a little… Where's the sense of classicism that should accompany any and all true SBM albums? Why does it have to be so over-the-top? Is this really the organic outcome of decades' worth of making BM? At some point, it's just masturbation…

Conceptually, "Grand Serpent Rising" is the summation of founding member, Silenoz (guitars), grande soul search; an evolution into the grip of Kundalini and the eventual serpent-like shedding of Earthly skin as we prepare for the afterlife. Musically, the choirs and symphonic elements have been stripped-down a bit compared to "Eonian" and that is surely a welcomed approach considering the atmospherically overwhelming nature of Dimmu Borgir albums-past. The Dimmu Borgir guitar tone is a gorgeous one: bold rich and saturated, so, to be able to actually hear it is something that is also welcomed. "Ulvgjeld & Blodsodel" - a fine example of said guitar tone along with a stellar display of that coveted wet drum sound that so many percussionists go for but can rarely cement.

Rewind to track two following the exhaustive intro cut. "Ascent" - following all the violins and the choirs and the rain - kicks off with torqued-out momentum as riff after pummeling riff ensues. A fine answer to the album's pretentious first four minutes. Silenoz making his presence felt with soulful leads and infectious melodies, all the while as Shagrath delivers his own erstwhile contribution yet again in a whirlwind of blasts and other power-based rhythms behind the kit. It took this band how many years before they realized that a little less is more? The less-atmospheric approach paying dividends as never-before-heard passages into well-known but previously inaccessible sonic environments uncover themselves like magic. This is evil! Transcendent like the unique, the deeply rhythmic and the movingly melodic "Silk Minnes En Alkymist". Blood-chilling spoken-word vocals during parts of "Recognizant" stir up feelings of unease, almost panic as our austere Narrator verbalizes a most chilling soliloquy.

I've always wondered what Borgir would sound like if they gave the symphonics a rest and what I've discovered is something every bit as full and vibrant as "Death Cult Armageddon"; relying solely on core instruments, though, and keyboards it seems as opposed to the full Choir and Symphony. The willingness to dial down the symphonic elements has also exposed a rather Industrial side to the music. Something off of Mysticum's "In the Streams of Inferno" perhaps. If it's old-school Borgir or any type of organic touch you're looking for, then keep it moving. Entertainment-seeking? Pull up a chair, because "Grand Serpent Rising" delivers the cinema and theatrics in spades. An album for breaking limitations' mold and for the pursuit of liberation, of freedom…

Rating: 8 out of 10