“Grand Serpent Rising” marks the return of Dimmu Borgir, delivering a tenth studio album that masterfully captures an old-school aesthetic. This creative pivot can be attributed to the near-decade gap since their last release and the 2024 departure of veteran guitarist Galder, who exited to resurrect Old Man’s Child. Consequently, co-founders Shagrath and Silenoz assumed complete control of the arrangements. The resulting 70-minute runtime scales back the suffocating orchestrations of past efforts, prioritizing raw, melodic guitar work reminiscent of “Puritanical Euphoric Misanthropia” and “In Sorte Diaboli”. Furthermore, the duo embraces their heritage by reintegrating Norwegian lyrics into the tracklist.
The record opens with “Tridentium”, a four-minute atmospheric introduction that tests the listener’s patience, though the subsequent track, “Ascent”, immediately rectifies this by solidifying the band’s sonic identity. The track seamlessly welds aggressive guitar patterns to classical instrumentation, highlighted by sophisticated solo work. “As Seen in the Unseen” emphasizes symphonic hooks with prominent string arrangements and a chanting chorus, whereas “The Qryptfather” densifies the soundscape with sheer, brooding atmosphere. The album reaches a creative peak with “Ulvgjeld & Blodsodel”, a track that encapsulates the freezing, nostalgic grandeur of Second Wave Norwegian black metal, anchored by a poignant piano motif.
The mid-section of the album experiences some structural turbulence. “Repository of Divine Transmutation” yields solid riffs but ultimately falls flat despite its orchestral accents. “Slik Minnes en Alkymist” offers better dynamic variation, juxtaposing militaristic drumming against fierce guitar and synthesizer interplay. Unfortunately, the momentum slows with “Phantom of the Nemesis”, a track over-reliant on symphonic padding that induces palpable listener fatigue. “The Exonerated” attempts a swift course-correction, utilizing high-velocity tempos alongside steady orchestral layers, while “Recognizant” transitions from a majestic, cold intro into a frantic, black metal march punctuated by sharp lead guitar work.
In the final act, “At the Precipice of Convergence” leans on Shagrath’s iconic vocal delivery to carry a simpler riff structure, paving the way for the turbulent, icy desolation of “Shadows of a Thousand Perceptions”. The album concludes on a high note with “Gjoll”—a beautifully spacious, acoustic-driven instrumental that grants the listener a grand, liberating finale.
“Grand Serpent Rising” is not a flawless record… far from it. However, it stands as a confident statement of the band’s identity in 2006 and in no uncertain terms it feels like a return to form. Symphonic, extreme and dark as they come the ascension of the great serpent, feels unstoppable.
