“Grand Serpent Rising” opens with a melancholic orchestral piece, “Tridentium”, which sets a darker tone for this grand, haunting album. The vividness of the guitar arrangements and spoken words, along with the guitars and drums, takes the center stage and leads to the following track “Ascent”, which opens with blazing riffs to erupt in a loud thundering through the menacing shrieks of Shagrath.

The high level of proficiency is ultimately showcased with powerful riffing and cohesive drumming. The guitar strings and echoing piano chords beautifully oscillate, while the complex drum patterns subdue the chaos, avoiding excessive blast beats. And yet a new form of brutality and aggression fits with precision; the song transitions are diverse without compromising the orchestral and symphonic elements being presented.

“As Seen in the Unseen” then unfolds ominously in the form of black metal aggression; the grandiose atmosphere combines choirs, and the guitars unleash fury with a dark melody dancing to the rhythm. The songwriting is varied and memorable, characterized by intense riffing on “The Qryptfarer”. The songs feature a catchy atmosphere played by piano and guitars, which truly shines. The drums are mostly played at mid-tempo but often showcase double bass and furious blast beats. I found myself constantly repeating the tracks and becoming mesmerized by the catchy compositional elements from the majestic choirs and epic symphonic sections.

Dimmu Borgir’s refinement makes it impossible not to applaud the songwriting mastery on this grandiose album, which brings the old spirit and energy of the band’s 90’s era. The emphasis on creating majestic moments captures the Norwegian black metal that is imbued in songs like “Ulvgjeld & Blodsodel”, which is one of the highlights. Shagrath’s vocals on the album are demonic; the screeching is beautifully presented, whereas the orchestral parts sound outstanding: Silenoz and guitarist Damage showcase mind-blowing skills, tremolo-picked riffs, shredding solos, and technicality.

“Repository of Divine Transmutation” left me speechless. The aggression and brutality are imposed by drummer Daray. And the same can be said of bassist Victor Brandt and keyboardist Geir Bratland, who dominate the songs with flawless musical skills; once the guitars blaze on this sinister track, you will be struck by the band’s prowess and mastery.

The symphonic sections are excellent, and they display Dimmu Borgir’s grandiosity. The dark patterns of “Eonian” are fused with spine-chilling atmosphere and sinister black metal extremity of their past albums like “Death Cult Armageddon” and “In Sorte Diaboli”; the symphonic elements are reminiscent of the band’s classic era. Intricate arrangements combining powerful riffs and melodies shine.

The drums are played with dexterity, where fury is unleashed in moments to juxtapose the flair of the guitars. The classic black metal chords, tremolos, and melodies are channeled in the song “Slik Minnes en Alkymist”; Shagrath surprises us with his excellent vocal approach. Majestic black metal elements combined with eerie choir will leave the listener mesmerized; the symphonic parts and the mid-tempo drumming create a perfect balance to this highlight track.

Each track delivers relentless fury, and dark orchestral passages remind me of Mustis’s work on the “Death Cult Armageddon” album. The menacing, brooding opening in “Phantom of Nemesis” then showcases a magical touch of musical invention. Dimmu Borgir find just the eerie alchemy between atmospheric black metal roots and orchestral experiments, which highlights their horror fantasy. The dark riffing on “The Exonerated” provides an epic atmosphere and forays into a bombastic, triumphant majesty; the keyboard arrangements are so catchy.

“Recognizant” and “At the Precipice of Convergence” give the album cohesion and consistency, from the dramatic orchestration and drumming bombardment. Albeit the swirling symphony that merges with the dark, melodic, gripping riffs, the raw black metal tremolos are overwhelming.

The album is more creative than the band has achieved in the last decade, and in my opinion, it is the best-sounding album since “Death Cult Armageddon”. The Norwegians have aptly reached their eminence by sounding massive and potent, which makes this album so epic. There is still a clear variance and staggering work of art in tracks like “Shadows of a Thousand Perceptions”, which alternate between haunting orchestral sections and guitar arrangements that resonate with an eerie symphonic quality.

The beautiful closure “Gjoll” is a mesmerizingly atmospheric instrumental track that combines eerie sounds to create a majestic atmosphere, the keyboards adding brilliance and perfectly revealing depth and feeling to the whole experience.

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