For me, Dimmu Borgir will always remain a great puzzle. I will never understand how they have gone from the beginning of their career to where they are today. Not that I like to spit like any good "true metalhead", but it must be recognized that between this album and today, the group has little by little abandoned everything that made its charm. The worst being that it is quite easy to compare the two eras thanks to the reissue of this album released 17yrs ago. Having already expressed myself on this subject, I will not go back over it. On the other hand, if there is one that deserves to be talked about, it is the original version.
I've said it a thousand times and I'm getting a little tired of it, but I have to say it again to give credit to the quality of Stormblåst: its great strength is that, unlike the Dimmu Borgir of today, it does not take pleasure in sanitizing the music which always results in a loss of interest. Admittedly, we are indeed talking about Symphonic Melodic Black Metal here, but don't look for orchestrations imitated with advanced keyboards (the real orchestras, don't even think about it!). Here, their use is most sober. Like For All Tid, here, the first goal of the band is to create an intense atmosphere in which to immerse their listener without them being able or wanting to get out... And it's succeeded!
The album only starts after a rather long, melancholic and very pleasant piano intro, before finally, the guitars and the voice take off and take us with them. Moreover, speaking of the voice: forget the manipulations and the various and useless effects with which the songs are decked out today. At the time, there were no clear voices in the songs and curiously, there is absolutely no shortage! Proof that Dimmu doesn't (or didn't) need Vortex to create something good.
But musically, what does it sound like?
Already, we can forget the In Sorte Diaboli and Eonian etc.... In Stormblast, the band, most of the time, goes straight to the point and gives everything it has. Which doesn't prevent them sometimes from slowing down the pace and bringing out a few melodies on the keyboard (I'm thinking of "Sorgens Kammer", but it's actually a copy/paste of video game music originally written by Tim Wright for the game "Agony", released in 1992. ) Simplicity is in order here, but there is always a good dose of subtlety specific to Symphonic Metal: this is the role of the keyboards. The riffs and the drums bring the raw sound, the energy; singing brings the soul; the keyboards bring the atmosphere, which makes the charm of this masterpiece.