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██▌ Artist...: Dimentianon ░▐██▌
░▐██ Album....: Dreaming Yuggoth ░██▌░
▓▐██ Year.....: 2021 ▓▐██▓
▓▐██ Rel. Date: 2024-02-04 ░▐██▓
▐██ Genre....: Black Metal ██▌░
░ ██▌ Label....: Paragon Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Retail ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Undying Bliss 5:52
2. Dwelling into Madness 4:11
3. Her Discordant Majesty 3:11
4. ...Till Our Last Breath 4:59
5. Smoke Rising 5:19
6. Dreaming Yuggoth 1:18
7. Beyond the Scree 5:59
8. Arx Laetus 6:26
9. The Infinite Talisman 8:36
10. The Path Less Travelled 6:47
11. Existential Reckoning 2:31
55:09
Dimentianon has been blazing their own path within black and death metal
since 1995, starting off as The Forgotten before adopting their current
name in 2002. My first encounter with the group came courtesy of 2010Æs
Collapse the Void, which showcased their ability to shapeshift between
different elements of black, death metal, and doom throughout each of
their songs. It left an impression on me, to the point that I would
check every so often to see if new material had surfaced. 2021 marks
eleven years since Collapse the Void and thatÆs finally happened, with
vocalist M recruiting a brand-new lineup that includes returning member
Joe Fogarazzo (Rigor Sardonicous) and Don Zaros (Evoken). The resulting
album, Dreaming Yuggoth, expands the amount of metal styles the band
touches upon while returning to the type of rawer and stripped-down
sound of some of their earlier efforts.
Where its predecessor showcased a bit more studio polish, Dreaming
Yuggoth has moved in the other direction in favor of a much rawer
approach that emphasizes the guitars and keyboard and gives a very
organic sound to the drums. ItÆs a bit closer to the bandÆs sound circa
2003Æs Seven Suicides, though the sound here has an even eerier and
murky tone to it as though youÆre hearing these riffs echoing off the
stones of a crypt. For some listeners that might prove to be too big of
a swing, but I found it quite appealing as it brought back that same
lo-fi atmosphere that a lot of US black metal was offering throughout
the 90s and mid-2000s on some of the lesser known record labels.
Besides the change in production values, the songwriting has gone
through some significant transformations as well, often sounding as
though Dimentianon is channeling almost every facet of the extreme side
of metal that emerged in the 80s. Opener ôUndying Blissö is equal bits
black and death metal, with the riffs and tempos sometimes capturing
that period where thrash and death metal hadnÆt quite separated and
become individual sub-genres yet. Later tracks delve more into the doom
side of the spectrum than ever before, with certain moments giving off a
Winter or Skepticism vibe. The former comes out in terms of the heavy,
lumbering guitar work that juts out with rawer tones while the latter
comes to mind when the keyboards come in with gloomy and haunting
melodies. ItÆs a diverse listen that has some genuinely stand-out
riffs, but my main complaint is that by the end the material does start
to run a bit long. The second half in particular is where the slower
doom elements are pushed towards six to eight minutes and at times the
writing doesnÆt fully sustain it, causing some sections to drag.
With the rawer sound, the vocals are very prominent this time around and
tower above the instrumentation. This is likely to be another love or
hate element for some listeners, but again it recalls what a lot of
bands of this type were doing a few decades back and I never found that
the vocals completely overpowered the instrumentals in a negative way.
M. has a raspier scream that sometimes hits some similar pitches as Pete
Helmkamp, but itÆs also likely to bring a lot of US black metal to mind
as well. ôBehind the Screeö and ôThe Infinity Talismanö introduces some
singing into the mix, with the somber melodic tone seeming to hover in
the air slightly behind the screams. When singing does appear
Dimentianon does appear to be heading slightly into gothic/doom
territory, and while the transition isnÆt always seamless, I do
appreciate that the group is further branching out and exploring some of
these elements.
This latest incarnation of Dimentianon has written what is easily their
most diverse and varied effort to date, touching upon black, death,
gothic, and doom without feeling like itÆs lacking substance. There are
a few bumps in the road, as some of the later tracks overstay their
welcome and the clean singing doesnÆt always fully mesh with the harsher
pitches, but this hasnÆt kept me from wanting to return to this one.
ItÆs likely to be an acquired taste for some, but if you prefer the
rawer side of the spectrum and cut your teeth on a lot of the US
underground over the past three decades then this will likely be up your
alley. Either way, this is a welcome return for this long-running group
and hopefully a sign that we wonÆt be waiting another decade for a
follow-up this time around.
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