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Class 6(66)
Dissection: Storm of the light's bane
29/05/07 || Global Domination
Released: 1995
Introduction
As I worked my way back into metal from the hard rock wilderness at the dawn of this century, a few albums by some special bands helped convince me that this was indeed my music. I’m indebted to these bands from re-opening my eyes to metal with their outstanding efforts, and Dissection is one of them. A band that stands as a fucken tall signpost for everyone starting down the metal road. Despite the numerous and well documented problems that surrounded them, it’s really dumb to deny the brilliance of their early work. Dissection was head and shoulders above many of their contemporaries in sheer talent, and this record is proof of such statement.
Songwriting
9. Dissection’s complex but fluid style was a mix of black metal speed and a sense of death metal’s technicality. Very few bands have been able to mix both genres so successfully as them. “Storm Of The Light’s Bane” is in my book the best black/death record ever recorded, and the songwriting is there to back it up. The cold, evil atmosphere that this record awakes in my subconscious is pretty much unrivaled. There’s a malignancy flowing from these songs that despite how many times I have listened to this album already, I still get plenty of moments through the album where I shiver as if I was in some fucken winter forest and my neck hairs bristle like a wolf’s.
The songs are quite powerful and amazing for the most part, even the intro “At the Fathomless Depths”, which sports a fucken ominous, creepy riff and the classy piano outro, which express a cold sense of finality, death and emptiness. My personal favorites are “Night’s Blood”, “Retribution-Storm of the Light’s Bane”, “Thorns of Crimson Death”, and the outstanding “Where Dead Angels Lie”, one of the greatest metal songs ever recorded. This tune exudes evil, a chilling riff after another masterfully tied together to create a devilish and grim landscape, fucken beautiful!
Production
7. The only possible drawback of the album, to some people maybe. At some point, it may even appear that some of the band members are slightly out of sync with each other. Just appear, mind you. There’s an emptiness or echo to the sound that makes the music sound kinda eerie, but thankfully, it’s clear enough to appreciate all the instruments. The drum sound is crushing, the guitars are very clean and fitting. The vocals have some appropriate reverb. Somehow, the production gives the album a gloomy feeling that suits the music, and in any case, the frantic pace and heaviness of it all sweeps any concerns under the carpet.
Guitars
10. Jon Nödtveidt, may he finally burn in hell, was a very talented guitar player. There’s a lot of compelling riffs and leads coming from him and Johan Norman all through this ride. Applying melodic death riffing to the black metal structure has rarely been done so well. Their playing expresses everything needed to make a great album: gloom, evil, violence and aggression on equal parts, at the right moments. There’s sparkling short acoustic passages here and there that are tastefully done. The opening of “Where Dead Angels Lie” is one of the most recognizable riffs ever. The way the riff progressions are arranged is pretty much perfect. The smooth transitions are ace, like the flow all through “Night’s Blood”, which starts displays fierce ripping death riffs, a great acoustic break and some scorching harmonies. Ambitious and varied work, it provides the cutting edge of the record.
Vocals
9. Pretty fucken strong output from Nödtveidt here. Most of his singing is done in the black metal vein, a chilling rasp, although a bit thicker than your trollish BM regular. Some whispers and screams in the right spots complement the songs real well. His voice is ghastly and downright dark, a great performance no doubt.
Bass
5. As usual, a bit buried in the mix. It doesn’t do anything extraordinary, mostly follow the guitar riffs from what I can hear. Well played, nevertheless.
Drums
9. Ole Öhman does a pretty fine job here, surgically precise at every moment. There’s some insanely fast double bass runs and timely blasting all over the place, propelling the songs forward and creating a very satisfying mayhem. Consistent, smooth and confident, great work!
Lyrics
8. Satanic? Check. Poetic? Check. Cheesy? Uncheck. This is well thought of. Just have a look at these:
I drown in the colour of your eye
For a black heart will only find beauty in darkness
I breathe it’s eternity to absorb the sky
Where the shadows of death may lie
It’s all pretty much like that, very well written, a pleasure to read and absorb! Nödtveidt was decidedly nuts, but he could write a mean verse. Considering his Satanism was dead serious, he did a pretty good work on expressing it through his lyrics.
Cover art
10. The grim reaper on a winter plain, scythe standing tall, riding a black steed. Frozen dead things and trees laying on the ground, and dark forests and mountains on the horizon. A black storm brewing in the sky. Shit, it doesn’t get any better than that! Great choice!
Logo
7. A fucken classic. Not easily read, though.
Booklet
8. Lost it, fuck me! Can’t remember exactly, but it had the usual info, plus seeming very frozen, winter like.
Overall and ending rant
9. “Storm of the Light’s Bane” is just plainly fucken great. The shite, the dog’s bollocks, France beating Brazil in another World Cup final, banging multiple pornstars, seminal, essential, whatever! Nödtveidt was a crazy, murderous fuck, but a great musician, and I will always acknowledge and praise Dissection’s first two records as his legacy to metal. TEH best black/death album ever, thank you and good fucken night!