Dariusz Brzozowski
The best thing to happen to Dimmu Borgir in years was the much-publicized split with long-time clean vocalist/bass guitarist ICS Vortex and keyboardist Mustis. Not that the transition was smooth in the least. To get to “Eonian” the world had to endure the colossal failure that was
Dariusz Brzozowski
Let it be known that Norwegian symfo metallers Dimmu Borgir and their long-time contractor Nuclear Blast Records are, were, and never will be above completely and utterly milking their fanbase for every penny they’re worth. Thus we have the “Council Of Wolves and Snakes” EP, another prelude to
Dariusz Brzozowski
Ah, Dimmu Borgir. Nuclear Blast’s trusty cashcow and probably the most vapid, inconsequential and populist Norwegian metal act to somehow stumble into a career. So here we are with the second post-ICS Vortex/Mustis effort and the first sign of life from Dimmu Borgir after an 8-year
David Vincent
“Illud Divinum Insanus”, the first Morbid Angel effort in eight years and the follow-up to 2003’s critically savaged “Heretic”, rightly continues to be subject of widespread scorn and derision. Dubbed an “experimental” and “genre-defining” masterpiece by the sycophantic metal press, it is a desperate attempt from a
AFM Records
The second Fear Factory reformation led to the workmanlike “Mechanize”, but despite being a mild critical success the band wasn’t able to hold on to its lineup. Prior to the recordings of “The Industrialist” the new rhythm section of bass guitarist Byron Stroud and drummer Gene Hoglan took their
Alan Yoshida
If one were to pinpoint the exact instance where Morbid Angel, the gold standard to which all things death metal was measured, started losing the plot musically 1995’s “Domination” would be the moment. After a recklessly violent debut, and two more deliberately paced successors the Tampa, Florida unit was
AFM Records
“Mechanize”, the first effort of the band’s second reformation, is a mixed bag. It stands to reason that it was the most aggressive, and heaviest record since the band’s 1992 debut. It is the first since 2001’s “Digimortal” to feature both Burton C. Bell and Dino Cazares,
Agnete Kjølsrud
“Abrahadabra” sees Dimmu Borgir, never the most gifted band to begin with, in the latter stages of creative decay. After acrimoniously splitting with keyboardist Øyvind Sven Mustaparta (Mustis) and bass guitarist/clean vocalist Simen Hestnaes (ICS Vortex) the band reformulated itself as a trio. Where its post-“Spiritual Black Dimensions”
Burton C. Bell
After an interpersonal meltdown led Fear Factory to fracture in two opposing factions, each carried on in their respective projects. Olde Wolbers, and Herrera regrouped with Bell enrolling Canadian bass guitarist Byron Stroud to continue under the Fear Factory brand name. Dino Cazares meanwhile put together Divine Heresy, a melodic
Burton C. Bell
Along with label mates Sepultura Los Angeles industrial (death) metal combo Fear Factory was a major selling outfit for a majority of their tenure with Roadrunner Records. “Digital Connectivity”, the band’s maiden foray into visual media, is an embarrassing spectacle of a strong concept lulled into irrelevance through weak
Burton C. Bell
By the time “Digimortal”, the fourth Fear Factory record and last in the classic constellation, hit the market the band was riding on a wave of increased popularity and visibility. They were a beacon of hope in a creatively bankrupt subgenre. What should have been the band’s ultimate statement
Burton C. Bell
“Obsolete”, the third Fear Factory record, isn’t so much the next evolutionary step in the band’s development as it is a mere refinement. It is the second in its ongoing man vs machine narrative, and the one that established Fear Factory as veritable metal force. Fully capitalizing on