Dimmu Borgir - Influences and Musical Style

Influences and Musical Style

Dimmu Borgir's older releases (since 1992 to 1999) are strongly influenced by Darkthrone, Mayhem, Bathory, Emperor, Celtic Frost, Immortal, Venom and Iron Maiden. The band became more progressive and symphonic through the years; many black metal purists consider the band's second album, Stormblåst, to be "the act's last true contribution to black metal". Enthrone Darkness Triumphant, Dimmu Borgir's third album, "distinguished itself in two important areas, firstly forgoing their native language for English and secondly for its dramatic increase in synthesizer content". Significant experimentation started approximately around 2000, during the era of Spiritual Black Dimensions (due to the addition of Vortex's clean vocals, and the variety of musical ideas from then-new member Mustis), as well as Puritanical Euphoric Misanthropia due to addition of influences from composers such as Antonín Dvořák, Enya, Richard Wagner and Frédéric Chopin. As the music strongly differed from the older, rawer black metal style, Jon "Metalion" Kristiansen called Spiritual Black Dimensions "a fine case of melodic, over-produced symphonic metal. If you like this melodic style I can't really think of anyone doing it better . No, I wouldn't call this black metal. Read the interview with Funeral Mist for the right definition of black metal."

Read more about this topic:  Dimmu Borgir

Famous quotes containing the words influences, musical and/or style:

    Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influences of each. Let them be your only diet drink and botanical medicines.
    Henry David Thoreau (1817–1862)

    Through man, and woman, and sea, and star,
    Saw the dance of nature forward far;
    Through worlds, and races, and terms, and times,
    Saw musical order, and pairing rhymes.
    Ralph Waldo Emerson (1803–1882)

    To translate, one must have a style of his own, for otherwise the translation will have no rhythm or nuance, which come from the process of artistically thinking through and molding the sentences; they cannot be reconstituted by piecemeal imitation. The problem of translation is to retreat to a simpler tenor of one’s own style and creatively adjust this to one’s author.
    Paul Goodman (1911–1972)