As if the powers that be knew I was about to review this album, that its time had finally come… the temperature has dropped, the light fades earlier, and the skies have absolutely opened the floodgates, creating a very fitting mood to dive into Dimmu Borgir’s latest offering, Grand Serpent Rising.
After eight long years between albums, it’s fair to say anticipation for this album is high. In metal years, that’s basically enough time for three reunions, two farewell tours and at least one completely unnecessary re-recorded album. Thankfully, Dimmu Borgir haven’t followed the norm, they haven’t returned sounding tired or creatively bankrupt. Instead, the Norwegian black metal legends seem determined to remind everyone why they’ve remained one of the genre’s biggest and well-known names for over three decades. In Silenoz’s own words, “we are rising once again. While the serpent represents evil to some, for us it symbolizes something else: renewal, growth, knowledge.” With that, Grand Serpent Rising promises to be big, dark and theatrical, but will does it actually deliver? Let’s find out.
From the very beginning, this album feels less like a collection of songs and more like the opening of some forbidden ritual. “Tridentium” slowly creeps in with distortion, rain, eerie ambience and deep dramatic spoken words, building suspense before finally declaring “the grand serpent rises” as if some ancient prophecy has been etched into stone. The tension builds beautifully before “Ascent” bursts through the gates with blast beats, razor sharp riffing and those unmistakable black metal growls. The track twists and turns through spoken passages, wailing solos and shifting tempos, creating a real sense of storytelling rather than just pure chaos for chaos’ sake.
That cinematic atmosphere continues into “As Seen in the Unseen”, stripping things back with acoustic chords and strings before the darkness comes rolling back in, while “The Qryptfarer” clashes piano melodies against guttural vocals and aggressive drums to create something both elegant and ugly in the best possible way. It’s melodic, symphonic and black metal through and through, but never feels overly bloated or buried beneath layers of over-production.
One of the standout moments comes through “Ulvgjeld & Blodsodel”. Deep bellowing horns and a distant ticking build this incredible sense of suspense and impending doom as the track slowly grows larger and more threatening. Like much of the album, it feels grand and dramatic, almost like you’re hearing an ancient tale or warning unfold in real time. I also really like that parts of the album return to the Norwegian language like this track, something the band haven’t leaned on heavily for quite some time. For a song focused on heritage, bloodlines and what gets passed on to the next generation, it just feels right hearing it delivered in their native tongue.
Elsewhere, “Repository of Divine Transmutation” changes the pace with acoustic guitar melodies before the full force of the band crashes back in around it, the pounding drums and distorted guitars carrying that same melody forward in a really satisfying way. “Slik Minnes en Alkymist” almost feels strangely uplifting at times thanks to the layered vocals and brighter guitar work, giving the album moments to breathe amongst all the darkness and aggression.
There’s also a really strong sense of dynamics across the second half of the album. “Phantom of the Nemesis” slows things down with beastly growls and a more dramatic stomp, while “Recognizant” delivers some of the album’s best guitar work alongside marching drums and layered chants. Between the echoing bells, chants and spoken passages, the whole track feels like stumbling into some cursed church ceremony you absolutely were not meant to witness.
By the time “Shadows of a Thousand Perceptions” rolls around, the album is still finding new ways to keep things interesting. Haunting female vocalisations and eerie keys lull you into a false sense of calm before massive guitar strikes drag you straight back into the fire again. I especially enjoyed the drumming here too, pulling back from relentless blasting at times and letting the technical details and cymbal work breathe a little more naturally.
Closing track “Gjoll” feels like the perfect ending to the journey. With owls, wind and buzzing insects surrounding the symphonic instrumentation, it becomes less about aggression and more about atmosphere and finality. The drums compliment the grand orchestral feel rather than overpower it, allowing the music itself to carry the emotion and weight of the finale. No vocals are needed here; the instruments say more than enough on their own.
Honestly, the vocals in most Black Metal music isn’t quite to my taste. But, even as someone who isn’t the biggest black metal listener, I can fully appreciate the level of care poured into this album. Dimmu Borgir clearly don’t rush the creative process and that dedication shows throughout Grand Serpent Rising. Every riff, melody, vocal layer and atmospheric detail feels carefully honed rather than thrown together to meet a release schedule. In an era where so many bands seem obsessed with quantity over quality, that deserves genuine respect.
What also stands out is how organic the album feels. It’s big and theatrical without becoming over-polished or sterile. You can tell these songs were built to sound powerful live rather than digitally perfected into oblivion. In many ways, Grand Serpent Rising feels like the best parts of old-school Dimmu Borgir sharpened by decades of experience, while still sounding fresh rather than trapped in nostalgia.
Themes of transformation, rebirth and awakening run through the entire album, and honestly, the title fits perfectly. Grand Serpent Rising really does feel like a rebirth for the band; darker, sharper and more focused, while still carrying the huge symphonic weight they’ve become known for.
Rating: 7.5/10
Pre-order the album
https://dimmuborgir.bfan.link/grandserpentrising
