LIGHTBRINGER
Apart from the first minute and change—which plods along to a slightly irksome groove metal-like bounce—this thing exudes a hypnotic viciousness that owes as much to the rhapsodic might of "Kings Of The Carnival Creation" as it does the befouled tranquility of "Mourning Palace." Just as can be heard in the latter of two songs, the sweeping keyboard arpeggios are as infectious as they are otherworldly. The true genius of "Lightbringer" is the way in which the band seamlessly blend blast-beat with lucidity. This approach isn't limited to those with instruments in hand, as Shagrath occasionally employs a slightly subdued approach to match the Yggdrasil-like plane of existence in which this song lives.
I AM SOVEREIGN
Norway's King Harald V should immediately commandeer this song as the official Norwegian military march. It is that epic. In what begins as a densely melodramatic track—decisive, dramatic and utterly potent—quickly turns into a wistful, trance-inducing, invisible-orange-held-high-into-the-night-sky experience. It's that mother of all black metal riffs. The riff that immediately transports your ass into a cold, dark, snow-blanketed Norwegian forest, illuminated by only the light of the moon and the howls of distant wolves. Yeah, that riff. It was found in spades on Enthrone Darkness Triumphant, and it exists here—though, tightened up and delivered with an urgency and intensity yet to be heard. You'll know it when you hear it.
It should also be mentioned that "I Am Sovereign" is among one of the most anachronistic tracks on Eonian—unsure if it belongs in the here and now or that of Gen Z ('90s through '00s). As such, its allure exists in a state of eternal permanence—neither here nor there.
If that weren't enough, about midway through, the song takes another turn—this time into the realm of death metal. This particular passage of galloping, staccato riffing is propelled deeper into brutal territory by some uncharacteristically guttural vocals courtesy of Shagrath.
ARCHAIC CORRESPONDENCE
From the get-go, the guys once again employ the minimalist approach via sequenced keyboard tinkering. It's funny, as the more this technique is used within the context of Dimmu Borgir's compositions, the more it seems to make perfect sense. It's the complete antithesis of the grandiose moments we are all so accustomed to, yet it works incredibly well. The song truly hits its stride at about halfway in, giving us the very best moments of Death Cult Armageddon-era Dimmu.
With things moving along at a considerably enjoyable pace, out of nowhere we are hit with the mysteriously beautiful voice of… um… well… your guess is as good as mine. Whoever it is, the presence of this lone male voice serves to propel the song into a dimension where both time and space seem not to exist. His clean, subtle, celestial inflection is the perfect accompaniment to Shagrath's malignity—their trade-offs a thing of black metal perfection. My only complaint with this song is that there is not enough of this guy… needs more of the mystery dude!
ALPHA AEON OMEGA
Of course, every Dimmu album has its "Progenies Of The Great Apocalypse." Last album, Abrahadabra, had "Gateways." Before that was the "Serpentine Offering." Before that was "Puritania." Going way back, before all of these wonderfully constructed songs, was "Spellbound (By the Devil)." So, here we are today—many songs later—presented with what could perhaps be a "Progenies Of The Great Apocalypse" killer in "Alpha Aeon Omega."
Like each of the aforementioned songs, this one sees Dimmu Borgir doing what they do best: taking hold of the listener's quintessence and ascending the highest of mountains—to a domain beyond the perception of reality. In true Dimmu fashion, things are not always what they seem – as mere moments later that mountain—that reality—becomes a fading memory as your sorry ass descends into the nethermost depths of depravity, where only the faintest of light exists.
Of interesting note, the song recalls the brilliance of fellow countrymen Keep Of Kalessin and their 2008 album, Kolossus. The last full minute of "Alpha Aeon Omega" feels like the ultimate homage to Arnt "Obsidian C." Grønbech and his Keep crew.
RITE OF PASSAGE
Last, but certainly not least, is the album's instrumental climax, "Rite Of Passage." This beautiful specimen of music recalls every stunning detail of the Shagrath-penned instrumental "Perfection Or Vanity" that closed out 2001's Puritanical Euphoric Misanthropia. It is the perfect footnote to the perfect album.
THE FINAL WORD…
To sum up, Eonian, first and foremost, is a black metal album. Don't let anyone try to convince you otherwise. As such, it rests more-than-comfortably in the pantheon of True Norwegian Black Metal, alongside every classic album that lines its hallowed halls. In fact, this is the first Dimmu Borgir album in a very long time where the symphonic components almost seem secondary to that of the blackened elements. This isn't to say that the orchestration is any less stunning or jaw-dropping, it's just that I find myself humming/replaying each and every malevolent-yet-celestial riff over and over… long after the music has stopped. Eonian succeeds—unequivocally—in its homage to both Dimmu's history and that of True Norwegian Black Metal.
To be perfectly honest, I would gladly wait every eight years if it meant getting an album of this quality. A stunning, unparalleled effort that should be heard by any lover of metal, no matter their preferred sub-genre. I'm going to go one further and say that Eonian should be heard by any real lover of music. This is its true genius – an album that, if given the chance (welcomed with an openmind), has the potential to make a significant, positive impact on the listener, no matter which walk of life they've wandered in from.
Long live True Norwegian Black Metal. Long live the mighty Dimmu Borgir.
SCORE: 10/10
