Deimhal

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Band(s): Deimhal
Label(s): Self-Released
Release Format(s): Digital, EP
Release Year: 2024
Review Date: November 22, 2024
Author(s): VincentP

Last year we saw the appearance of Deimhal on the symphonic Black Metal stage, launching into the scene with their EP ‘The Grand Gathering’. Featuring multiple members of the band Catamenia, the first work of the band presented a different approach than with their previous involvements, one that walked the crossroads of the later sound of Immortal and Dimmu Borgir. Yet that was just the start, as the band swiftly followed their debut release up with a new EP bearing the title ‘The Diabolical Liberation’.

On their newest release, Deimhal has taken quite a different direction. Yes, the label of symphonic Black Metal is very much in place, although the keyboards have moved into a more orchestral background to give way to the rattling drums and tremolo-picked guitar riffs. The likeness to the bombastic sound of Dimmu Borgir is therefore retained, and the largest shift can be attributed to the guitar work. Very little is left of the Immortal-esque chugging riffs, as overall the music has shifted from a midpaced approach to much more urgent character. New within this guitar-emphasis are embedded solos, which remind me of Astennu’s work on Dimmu Borgir’s ‘Spiritual Black Dimensions’. With it, ‘The Diabolical Liberation’ harbors more venom yet also the so typical technical refinement of Finnish bands such as Children of Bodom.

Furthermore, in ‘The Flesh Words of Sin’ we find the band incorporating an element that became increasingly popular in the second half of the 90’s Black Metal: soprano vocals. The contribution of guest vocalist Melitza Torres gives it an undeniable flashback to 25 years ago, when Sarah Jezebel Deva graced albums by bands like Cradle of Filth and Covenant to add a theatrical flair to their Black Metal. With it, the song presents a more mature version of the band in which even some of their Catamenia roots surface. In the subsequent ‘Malice’ guitar solos and piano licks are intertwined throughout the song, highlighting once more the drastic increase in pace, intensity and refinement. The EP is rounded off with a moody acoustic song with strings and raspy incantations, providing a musical counterpart to fit with the artwork.

The increased urgency in pace, the more haunting atmosphere and the incorporation of guitar solos have done the sound of Deimhal nothing but good. While the debut was more a decent record that just fit in a blossoming scene without making a huge splash, ‘The Diabolical Liberation’ feels like a much stronger release. Those with a place for late 90’s symphonic Black Metal in their hearts would do well to give this EP a good listen.

VM-UNDERGROUND

Extreme Metal Fanzine est. 2012

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Deimhal – The Diabolical Liberation [EP]

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