The songs often start strong, then, after a somewhat complex maze of not-quite-chorus and not-quite-verse, and a whole lot of other definition defying structures, end in a very apotheosis-like manner, giving the sense that either the world has ended, or just begun. In this album atmosphere and production are very interconnected. This area is both its connecting factor, and disconnecting factor to its black metal ancestors. They are connected in that they both project an air of blasphemy — that the defining atmospheric characteristic is that feeling that just by owning a copy of this album you have sinned against god.
The aura projected is hard to classify, containing elements of both black metal, and symphonic metal. But the real puzzler is the occasional scent of death metal brutality — not strong or overt, but there. The production is very good, and a much more distinct keyboard presence can be felt, despite the lack of heavy keyboard lines, due to the return of an actual keyboardist behind the symphonic elements rather than an orchestra — even though it sounds more obviously synthesized, it gives it more character and depth.
All in all, it is a very solid release, with a strong presence and a downright hellish aura, and a distinct sound. XD In all seriousness, though, this is a good album and I hope for more like it. It's when all shreds of their former glory if you can call it that are gone. All elements of their black metal days are gone even shaggy's vocals sound more like Shitknot than black metal , and even the very metalness is fleeting.
In this work, they start resembling hardcore and shit hardcore at that by doing repeated one string riffs that hammer on the low end but fail to be anything but a gimmick, i. In fact, one could argue that the whole of Dimmu Borgir, in all of its pathetic existence, is a gimmick. In that case, you wouldn't be far off; I see no element in this CD that isn't made to sell records to impressionable 12 year olds.
Back to the guitars, I see no reason for 2 guitarists on this album. Anger, Galder and Silenoz are reduced to doubling each others' on this album, with few discernable leads compared to other more successful efforts.
The point of reviews is to say whether one should purchase the item in question; and the core argument I have as to why you SHOULDN'T buy this album isn't one of quality or commercialism; it's of originality.
The only new thing is that they seem to be even more shit and pretentious, trying to do a "concept" album with a concept as thin Nicole Richie in a fit of thinspiration. It's a flimsy gimmick intended to break the monotony of shit album after shit album, and it doesn't work, because this album is a shit album as well.
Musically, no new ground is broken, if you've heard any of their recent three worded albums, you've heard this; if you can call making it even shittier and mallcorish, then yes, they've done something new. But I don't consider that anything new, so no, this album is completely redundant and unoriginal.
Of course, everything else is nothing to write home about. Same boring, uninspired drums Did Shaggy literally tell Hellhammer to NOT play with any feeling, style, or hell, anything that would let the listener know that it's hellhammer playing? To sum up the instrumental performance, uninspired, boring, simple, mallcorish.
Doing untechnical music isn't a crime; if you've got the songwriting abilities to make up for it, then all the power to you. But Dimmu don't. I'm not going to describe individual tracks, since they all seem to blend in each other in this sea of adulterated fecal matter, sort of a shit lagoon so to speak. The above 3 paragraphs pretty much sum up the album. So, to circle back to the beginning, why is this Dimmu's rigor mortis?
It's when the aspects of the band that made them good have gone, gone, gone. And what have we learned here? For one, dimmu ran out of steam YEARS ago and are embarrassing themselves by continuing to release albums. Secondly, thank god for torrents, because I ain't paying for this bullshit.
Also this wipes the floor with the lyrical content of their last few releases…while I like those albums I still cannot deny that their lyrical content was childish. As for the music itself, it really continues in the same direction that they left off with Death Cult Armageddon, with a few changes. His talent of very technical and somewhat unnatural drumming really fits in with Dimmu Borgir.
Secondly, one of the main elements of Puritanical Euphoric Misanthropia and Death Cult Armageddon was the use in those albums of an entire orchestra, the Prague Philharmonic, which gave them a very epic feel in my opinion. Anyway, Dimmu Borgir seem to prefer using standard keyboards now, since the entire orchestral part was left out from In Sorte Diaboli. All is now done by Mustis. The decision for this is based on the fact that during their live performances Mustis was the one doing the orchestral part anyway so they dropped it from the studio recording as well.
Aside from his interesting and funny facial expressions during live shows, he handles his guitar with incredible talent and capacity. Silenoz continues to create the usual excellent Dimmu riffs since the creation of the band and is the one doing most of the writing. On The Sacrilegious Scorn, however, he really shines, using the total capacity of his excellent voice. Great improvement with the lyrics is to be found is as well as the continued talent the band show with their other musical skills.
This one is a must have for fans of Dimmu Borgir, even the older material. Dimmu Borgir are something of an enigmatic band in the metal world. On the one hand we have the "true believers" slating them for transcending their BM roots and on the other hand not many people can deny their knack for turning out consistent material and competent performances.
Yet I doubt even fans of the band could feel any real depth or meaningfulness in their music, at least not since the terrible Enthrone Darkness Triumphant which played out more like a cell phone ring tone than a symphonic black metal metal album. So with that in mind, you could be forgiven for thinking that they could turn out an album with a bit more depth this time round - seeing as they proved they still have it in them to inject a bit of passion into their music with the surprisingly masterful re-recording of Stormblast - and with Hellhammer not known for half-arsing a job in the ranks, what could go wrong?
In Sorte Diaboli is a concept album about a priest who sees the light or rather, the darkness of religion. The plot is unfortunately rather un-complicated and most listeners could be forgiven for not realising that this even a conceptual work at-all as it is ultimately forgettable and lacking in direction. Two things that make a good concept album are a passionate performance and of-course consistent song writing.
Unfortunately the band suffers in both aspects here. Both Hellhammer and Vortex having worked together since '97 in Arcturus have brought considerable influences of that project to the floor this time out, now that Hellhammer is full time skin basher. That influence is no more obvious than on "The Sacrilegious Scorn", whilst it maybe one of the greater moments of the album with a theatrical keyboard intro and Vortex's voice leading in some places, it still sounds like an Arcturus B-side and totally out of place.
Shagrath, despite having a good BM rasp kills off any semblance of passion in the lyrics with his over use of vocal effects, thus sealing the album's fate. The main flaw however is apparent right from the opening track; it's Hellhammer's drumming! Indeed there isn't a single decent riff in the opening number till the last seven or eight seconds. In short Galder and Hellhammer are not working together fully.
Hellhammer has the ability to play at the same yet mostly faster pace as previous hitter Nick Barker, but when Barker played, it sounded as though he was playing to the limit of his ability. This worked excellently with Galder's technical guitar assaults, sounding both hard and aggressive, whereas Hellhammer has a style which can tend to flow more than anything else.
Where Barker was a human drum machine, Hellhammer is a perpetual drumming god, sounding too relaxed even at the considerable unfaltering pace of this record. The result is a rather dulled down attempt on Galder and Silenoz's part to fit any riffs around the unsuitably non-aggressive drumming. This makes for a lack of decent riffing, which was once the one thing the band could through in the face of its many detractors.
Galder does however show some ability to balance his technical style with Hellhammer and pull off some brutal yet subtly melodic numbers like "The Chosen Legacy" and "The Conspiracy Unfolds".
Too little too late though. Whilst the album has it's moments to keep the fans on side, there is really nothing we haven't heard before and is over-all a waste of the collective talents of the band. This record is easily one of the best examples of a band making lacklustre music for the sake of contractual obligations rather than to innovate or evoke feeling. Better luck next time Dimmu Borgir are notorious for having as many fans as they do haters.
It's taken more than a few years but they have returned with a new effort that's sure to divide the fans and non-fans even further apart. I'm not a huge fan but I've always enjoyed Dimmu for the most part and will do my best to give an unbiased review of "In Sorte Diaboli". The first thing you may notice is the lack of the vast orchestral sounds in this album have been pushed to the back, with guitars, bass, and drums at the front.
I like orchestras and such but I think this is a good decision on the bands part. There were tracks on "Death Cult" where the organ was right at the front of the sound and almost completely drowned out the other instruments save for vocals.
While the symphonic influence is still present in most songs, namely "The Serpentine Offering", "The Sacrilegious Scorn", and "The Fundamental Alienation", the songs are almost all guitar driven. This gives Galder and Silenoz a chance to show off their skills as talented and competent guitar players. Vortex's offerings are also more present than ever, as he gives a solid bass line for many of the songs. It should also be noted he gives a great performance as a background singer, although I was disappointed he was only used three times.
The drumming is as you expected. Fast and Hellhammer is a far more accurate drummer than Barker and he shows why he is one of black metal's most important musicians. Admittedly his style isn't obviously distinguishable from any other drummer, but he delivers a tight and accurate performance throughout the album none the less. I've never been a big fan of Shagrath's vocals as he sounds like he's croaking a lot of the time. But he does what he has to, spitting satanic and misanthropic propaganda into the face of the listener.
As far as we are on that note, one of my few complaints is the lyrics. The album isn't devoid of chant along parts, but in the future I would like to see more creativity in the words.
All in all this is a solid release from a band that obviously has a few tricks left up their sleeves. Fans will love it, black metal purists will hate it, but if you can look past the name and enjoy the music for what it is, every metalhead should find at least one positive things about this album. Yes, I said it! Quit your bitching!
You all look down upon this album solely for the fact that the name "Dimmu Borgir" is on the cover, and you immediately stereotype it. II were my first hint that Dimmu was starting to shape up. I understand that the song titles were ridiculous. Yes, they were a tad awkward. Here, it seems, he's gone and read the booklet inserts of past albums, and realized how good of a lyracist he really is.
Now, when it comes to story-based albums, I always think of King Diamond, Cradle of Filth's "Cruelty And The Beast", and Symphony X as well as Disembowelment , so sure, this is quite a transition from this type of expectations.
But it doesn't change the fact that the lyrics are great, and fitting to the storyline -- if you can figure it out by reading them. One thing that really stood out about this album was that Galder and Silenoz are not using fruity new-age Black metal riffs dressed up with good distortion, treble and reverb -- no. These riffs are something I'd expect to hear in Melo' Death Metal, which is interesting because the riffs seem to truly take Dimmu Borgir to a new stage of aggression, specially when Hellhammer starts blasting beating.
Speaking of Hellhammer In the middle of one of the songs, I hear Hellhammer We all know he can play the drums well, but the gravity blast was too much -- what was wrong with the simple blast beat he was doing before? It was fast enough! It kept pace! But why? All in all, the drumming on this album was spectacular -- though as a previous reviewer said --, there's not too much of a difference between Mr.
Blomberg here and Nick Barker from previous albums. I'm glad to see, on a more positive note, that Dimmu have not used Orchestra on this album. It's not that the Orchestra was terrible, but it was a little too much. It kicked back a lot of the beautiful melodies provided by Mustis. Shagrath's vocals have really impressed me. Unlike DCA, he's practically ditched the vocoder, which only makes minor appearances on the album.
I did enjoy, however, his display of overdubbing his vocal tracks with low-high's and high-low's. Really provided a dark feel for some of the songs. So, again, I say it! Stop blamming this album because of the band! This album is an intense improvement from Dimmu Borgir -- and the charts happen to agree with me 1 in Norway; first time a Black Metal band has EVER achieved such a feat'.
As we all know, after the excellent Enthrone Darkness Triumphant and the quite enjoyable Spiritual Dimensions thanks to Nagash and Astennu, most likely , things really got out of control with Dimmu Borgir. Remember, the adagium of keep your friends close, and your enemies even closer still is valid. But whenever a band uses an entire orchestra to back up boring riffs, or re-styles and re-releases an entire album which was fine to begin with, it would seem like the proper time to think long and hard as to what you want with your band.
So, on this point of the juncture, we are graced with the release of In Sorte Diaboli. And now I will grace you with my observations and complaints in random order of appearance. I wish I could assert otherwise, but the songs on In Sorte Diaboli are simply boring. The intro for instance; what is that? Another reviewer hit the nail on the head when he said that the intro sounds like a computer game.
It sounds like the music to a War Craft orc attack on a village. Besides, since when does an intro repel in stead of draw you into a new album? Then there is the use of annoying keys: take for example The Fallen Arises, an instrumental song somewhere in the middle. Judging from the title, I presume it is about the priest coming to realise that his transfer to the anti-Christian side has come full circle or something.
Never mind the intended message of the song; it is absolute filler material! Shagrath has supposedly made some headway with his vocal delivery, but where, I ask you? I still hear the same rasp with vocoder effects. ICS is as always a breath of fresh air between the croaking of Shagrath, but on In Sorte he does not fit in. If only he had remained with Borknagar. What a performance that was on The Archaic Course. Speaking of some of the songs, what about The Sacrilegious Scorn?
An Arcturus rip-off! It sounds so obviously evil. Well, it will probably make for a nice shout-along during concerts. When I heard Hellhammer would lend his abilities to spice up the Dimmu crew, I knew beforehand that lots of people would hail his jumping aboard without any complaint whatsoever. And I was right; look at the reviews below. It may be a better album than its predecessor, but it still is not really good.
Sure, Helhammer shows his skills on the kit such as during the little drum break in The Foreshadowing Furnace , but for the most part, I cannot spot the difference between Barker and Hellhammer.
So, while Hellhammer is superb, please do not give him credit beyond the fact that he performs as always. Difficult question. Yes, In Sorte sports great production, has some brooding melodies, and great musicianship this does not relate to the ability to write good riffs or songs, mind you , but what does it matter? It just does not do anything. On the other hand, if you are really a fan or have this nasty compulsion of buying everything a band releases, please go ahead and buy it.
Maybe after the umpteenth unnecessary buy some people will realise that it is not essential to own all albums by a band, and that it is better to be critical.
Dimmu Borgir's music is notoriously keyboard-driven, which had the effect of making the music symphonic and complex. Here, the complexity and nuance that came with keyboard-dominance is gone and what remains is demonic, sometimes heavy, sometimes melodic, riffing. The keyboards are still there, but they are in the background and their role seems to be in filling gaps and embellishing on the main melodic ideas rather than being the driving force of the music. Fortunately, Simen is still doing is amazing clean vocals.
I believe this works even better with the stripped-down sound of the album because they provide a melodic counterpoint to Shagrath's growling and help balance the heavyness and intensity with Simen's emotive melodic singing.
This is especially important because of the diminished role of the keyboards. The speed of the music ranges between fast and mid-paced. There aren't a ton of blastbeats here, which to me is OK because when bands overuse them all of the songs end up sounding too similar for my taste. Instead, it seems the band tried to make the riffs interesting and unique. The time changes within the songs are well placed, making each song fairly dynamic in its own right. I've only listened to it a few times through now and it may grow on me.
Even though the tracks are consistently good, none besides the single rise to greatness. Their last two albums I think were better but there was more inconsistency in the quality of the tracks.
I would recommend this for anyone who liked their last two albums. With this mindset, In Sorte Diaboli is quite frankly…amazing. Dimmu Borgir may have changed their sound a few albums ago but with this most recent release they have perfected and fine-tuned their noise. Granted most metal elitists do not consider Dimmu Borgir to be black metal any more or to begin with in some cases and I would have to agree with them at least on the more modern albums. In Sorte Diaboli is not quite black metal.
I would say that it is more on the lines of melodic death metal. Dimmu Borgir has refined their music to break out of black metal stereotypes even if they still look and perform live in that style.
There are still moments of pure black metal and one can definitely hear the influence of black metal in the music. In Sorte Diaboli is full to the brim with monster riffs and awesomely haunting guitar melodies. The riffs are super fast with sinister sounding and most of the leads on the album are tight with some awesome trade-offs.
The slower parts of the albums are epic and haunting with the guitars taking a back seat the massively impressive keyboards. The guitars don't pull much melody on In Sorte Diaboli but what parts they do have are well thought out and quite emotional something in black and death metal you don't have very often.
The epic sound that is presented on In Sorte Diaboli is in part mostly because of the jaw dropping keyboard and synth lines that lace most of the music and for some of the tracks are as aggressive as some of the guitar lines. The keys surround a lot of the music like a heavy fog and really support the traditional instruments. For the structuring elements, the bass work is top notch once you can pick it out of the many many many layers and it is quite fast even if it only has a few moments to shine in the music.
The bass does its job and really gives that extra foundation symphonic sounding music needs. The drumming is simply the most impressive part of this album. That is saying quite a bit considering all the great presentations on the album. Hellhammer is simply one of the best metal drummers of all time and his work on In Sorte Diaboli is His cymbal work is stunning and his bass drum speed borderlines breaking the speed of sound. His use of variety and technicality really push him out even if the production kind of pushes him back.
If anything this album is great of a listen if all you do is listen to the drum parts. The vocals are normal Dimmu Borgir guttural half thrash, half death vocals. There is even some distorted spoken parts that help give the album a great rounded sound. In Sorte Diaboli is a concept album. The story is actually rather interesting and well laid out as the album continues to play. Dimmu Borgir has always tackled relatively controversial topics - but this album presents topics such as anti-religion and death in a polished and sophisticated way.
Once a person is able to decipher the lyrics, a whole new layer is added to the album. In Sorte Diaboli is not going to appeal to fans of early Dimmu Borgir material but for fans of the newer material this is an almost perfect album. At long last I am noticing why Dimmu's last few albums have been eliciting cries of "sellout" in Metalville these last few years. After defending them in the past I am starting to see the decline in the quality of their music, and it is disturbing and disappointing.
This album really nails it home in that respect, quite honestly. This album is just Even after several listens that ended up being laborious and difficult in my efforts to find redeeming qualities, it does nothing for me. It's like bland wallpaper or wall paint in an asylum designed to not provoke reactions from the inmates as opposed to being attention-getting and exciting and eye-catching.
The production is thin and washed out with one of the worst drum sounds I've ever heard; typewriter kick drum noise and a flat snare that's about half the volume of the kick drums. And the vaunted Hellhammer sounds as though he totally phoned in his performance, too, doing nothing terrible exciting at all. This whole album feels lethargic, a collection of riffs randomly thrown together with pretentious titles and uninspired lyrics that a year-old could've scribbled in the back of his high school classroom.
Simen Hestnaes' outstanding clean vocal prowess is severely underused, too, what's more. It bored the hell out of me, ultimately. No really memorable riffs, no real feeling of excitement, it just sits there and says "Meh," just like I did after trying to like this album. Mustis' keyboards are just a wash of sound over the proceedings, nothing special at all, as if that were not enough.
Don't get me wrong, each song has at least one cool moment, like Hellhammer's insanely fast double kick at the end of track 2, but the disgustingly overtriggered kick drums set my teeth on edge. And one cool moment per song does not a cohesive album make. And no appreciable solo spots make this more tedious as well; I miss Astennu's stunning leads like at the end of "Dreamside Dominions" on "Spiritual Black Dimensions".
Galder is no lead player, and this makes the album more dull without even anything like that to lift it out of the doldrums for even a few moments. All in all, Dimmu have done far better in the past and seem to be sitting on their collective derrieres resting on their laurels.
I think it's sad that these once-mighty veterans have allowed themselves to sink so low in terms of the quality and intensity of their music and compromised their integrity in order to crank out uninspired product like this.
How the mighty have fallen Let's face it, from a perfectly objective and open-minded perspective, Death Cult Armageddon and Puritanical Euphoric Misanthropia were pretty bad. They had their moments, but they were just too cheesy, too overproduced, and too overdone to be quite believable.
The band tried way too hard to be evil, and the end result was so fake that anyone with the exception of stupid Slipknot-worshiping teenagers could see right through it. Now, after a semi-successful re-recording of their debut which I think did fair justice to any album that really wasn't all that great in the first place , they're back with their first new material in four years. My expectations were pretty low, but I gave it a listen anyway.
I noticed that they've finally abandoned their practice of stringing three random words together and passing the result off as an album title, instead using a Latin title.
I thought perhaps this might signify a move toward true black metal, but it doesn't really. What they offer on this album is their trademark style of symphonic extreme metal, sans some not all of the bullshit. Then the "riffs" start just about a minute in There are a few decent riffs on this album, but nothing to get excited about. The opener isn't a bad song, but it's not very memorable, either.
Nor is the next song. Nor the next one. The album's main flaw is that nothing really sticks out as track after track just washes over the listener. There are interesting parts, but no song really stands out as better in terms of its coherent whole. There are no surprises as far as the individual performances: Shagrath still sounds like shit, but at least he doesn't rely on the cheesy, distorted, "evil" vocals quite as much as he used to; the guitarists they don't really play many leads, so why the hell do they need two?
It's also worth noting, for those of you who may have wondered, that yes, the lyrics do still suck. But come on, it's Dimmu Borgir, what did you expect?
If you liked them, this one will probably blow your mind; if you didn't, then you may still be able to handle a few of these songs.
I can only ever listen to a couple of them at a time - and it doesn't really matter which ones since they're each about as mediocre as all the rest. On the whole, I rate the album only slightly above mediocrity, and that's because the orchestra is actually used tastefully, which is always a plus.
I don't know what. It's either a desperate attempt to get the former glory of black metal titans back, or simply a masterpiece, perfectly disguised and shrouded in mystery.
Either way - it's not exactly what it should have been. I personally like all Black Metal styles - Nu, Old-school, melancholic and so on and so on. But every time I listen to this album and I imagine that it's meant to be black metal, I go to the bathroom and I throw up.
But if I listen to it, without such thoughts I actually enjoy it. Not tremendously but it still doesn't sound that bad. Therefore I cannot give a percise score of the album. It either sucks or it's great, depending on how you look on it just like DCA. I can look inside the components that make it an album however. And more specificly : Vocals - Shagrath's growling is in a way satisfying and in the mean time - disappointing. He performs masterfully on several songs, while he sucks on the others.
According to me this can be explained with the effects added to enhance his voice. But compared to many other bands and songs I can't say that he's utterly bad. Just not that good as he's supposed to be. I think this is a good time to curse Silenoz or Vortex. I don't know which of the two of them exactly but one of them for sure. The reason is the pathetic clean vocals used on half of the songs. They are disgusting. They ruin whole songs.
I mean I liked them in 'Death cult Armageddon' but here they are just horrific. Especially in the song 'The invaluable darkness' around the second minute.
What in Lucifer's name is this? Come on, you can do better than that. Their tones were so mistaken. And just as I was going to say that I like the song. And Shagrath isn't that perfect to make up for their failiure.
Few exceptions though. Oh, wait, cancel that. I don't think there are exceptions. Actually the more I think about it the more I understand that the guittars and perfect. Perfectly tuned and great riffs. It would be a huge mistake to even say a bad word for them. Keyboard - Good performance on almost all the songs, especially I liked the little instrumental in the middle of the album. I don't know why it's there, but it sure is good. It's going straight to my ambient-orientated collection.
Drums - Hellhammer's performance is He's hitting those drums like a lunatic, a maniac. An unstopable force of destruction.
Like he's stabbing his worst christian enemy with a ceremonial dagger. Lyrics - I always leave the 'best' part for the ending. We have all been told that the album will be the first one with a concept. It does have a concept. A pretty poorly written one at that point. For an album of such a class, the lyrics had to be written like it's the end of the world. The lyrics from DCA were a thousand times better than these.
This is why I give this album 50 points and not Only because of the lyrics. I'm really sorry to say it, but I couldn't find the desired links to some phrases. This only goes to several songs. Like the line 'Time has come to step up and take back what you took from me'. Now what in Sheol's name is this supposed to mean? No logic whatsoever. I just like to say that I am a lyric-maniac so don't go asking why I'm making this big a deal of the bad lyrics.
I shouldn't say more of this album. I am sure that the album is not as bad as I described it, because I am being sceptical to the point of devastation.
Like I always am. But that's how it can be improoved. I do not intend to ruin DB reputation. If you liked DCA - you'll love this. Metal Archives loading Username Password Login. Bands alphabetical country genre Labels alphabetical country Reviews R. Privacy Policy. Buy from In Sorte Diaboli Dimmu Borgir. Write your own review. The Clansman 95 , November 12th, LordReklaw , April 10th, Diamhea , February 23rd, DracuLeo , July 30th, ImpureSoul , March 14th, Lyrici17 , April 30th, Stormblast 7.
Antikrist 8. Dodsferd 9. Vinder Fra En Ensom Grav Master of Disharmony 2. Devil's Path 3. Nocturnal Fear 4. Mourning Palace 2.
Spellbound by The Devil 3. In Death's Embrace 4. Relinquishment Of Spirit And Flesh 5. Night Masquerade, The 6.
Tormentor Of Christian Souls 7. Entrance 8. Master Of Disharmony 9. Prudence's Fall Moonchild Domain 2. Hunnerkongen 3. Chaos Without Prophecy 4. Raabjorn Speiler Draugheimens Skodde 5.
Metal Heart 6. Stormblast - Live 7. Master Of Disharmony - Live 8. In Deaths Embrace - Live 9. Spellbound By The Devil - Live Reptile 2. Dreamside Dominions 4. United In Unhallowed Grace 5. The Promised Future Aeons 6. The Blazing Monolights Of Defiance 7.
The Insight And The Catharsis 8. Grotesquery Conceiled - Within Measureless Magic 9. Argane Lifeforce Mysteria Tormentor Of Christian Souls 2. Nouning Place 3. Dodsferd 4. Honnerronungens Sorgsvarte Ferd Over..
In Death Embrace 7. Stormblast 8. Spellbound The Blazing Monolihts Of Defiance 3. The Insight And The Cathasis 4. Puritania 5. Fear And Wonder 2. Kings Of The Carnival Creation 4. Hybrid Stigmata-The Apostasy 5.
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