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DORN - Spiegel Der Unendlichkeit

CCP Records

file under Black metal

Vera: Dorn is the brainchild of ex-Riger keyboardist Roberto Liebig. He started this as a one-man project in 1998 and completed and released the first three albums on his own. When the album 'Suriel' came out in 2004, Dorn appeared to have expanded into a five-piece band. On this album female vocals could be heard, but female vocalist Ira and keyboardist Lars left the band shortly after the release of 'Suriel'. Three years later Dorn is back with 'Spiegel Der Unendlichkeit' as a triad. No female vocals anymore (sigh of relief) and Dorn returns to the sound of the first three albums.

The music has a lot of variegation, is multi-layered, has some smart orchestration and behind the fiery guitars one may notice some refined acoustic guitars and broad keyboard pads. We can describe it as melodic black metal, that suits, but there is more than that. This is proper accessible black metal in a superb production, however without losing its necessary grimness. Fans of a low-profile underground production will not applaud it, everything sounds like it should be.

'Eisglanz' kicks off with a pinch of electronics, low gravel-throated gruff vocals and fast blastbeats, soon tempered by supporting keyboards. And why should not Dorn do this in their vernacular language? It makes sense and is never disturbing. Dorn blends everything to give it its own twist. They stand the test! Some parts even have a springy rhythm (in 'Königin Des Feuers' and the polka rhythms in the title track). 'Windtränen' is a quite slow and melodic song with a spoken fragment. An atmospheric start and menacing spoken intermezzo lead in 'Nachtblut' to a rigorous black metal outburst, while we get some nice organ and later lots of dramatic keyboards in this composition. Indeed, Dorn is a real fine surprise to me. But, you want the real highlights? Just listen to 'Winterwacht' in which acoustic guitars (played by drummer Sebastian!) are featured, even in the heavier parts where they are nearly snowed under; a trick they use again in 'Flammender Zorn'. Or the blasting 'Spiegel Der Unendlichkeit' with ultra compelling melody lines of the guitars and an orchestral interlude. Lyrics deal with the cycles between the decline and the rebirth of powers, their impact and structure and how mankind interprets and transforms them. That title track symbolizes the end and the beginning. The well-known theme of good and evil is assimilated in an intelligent way and by a metaphorical approach, the listener is able to give his own interpretation to the lyrics.

To conclude I want to mention that this is not a pure black metal album in which they constantly scream. This is more sophisticated, though growling vocals might be tremendous from time to time and the black metal parts are relentless. A song like 'Flammender Zorn' made me write: Crematory with black metal influences and actually this is tenable for the entire album, being very approachable. Dorn is looking for a new keyboard player (on this album all keyboards were played by Roberto himself).

Rating 86/100