Album Review: Dimmu Borgir – Grand Serpent Rising (Nuclear Blast Records)

Symphonic black metal icons, Dimmu Borgir, are back with their brand-new album, ‘Grand Serpent Rising’. Out on May 22nd, 2026, via Nuclear Blast.

I have a lot of love for Dimmu Borgir, as they are the band who cemented my interest in black metal when I was finding my feet in the murky waters of metal’s sub-genres. I still remember how it felt when I heard Mourning Palace, which was my introduction to them. I was well aware of black metal because of the likes of Cradle of Filth, but the black metal that Dimmu was playing was different. I was hooked and while my interest has waned over time and I’ve not loved a Dimmu record since In Sorte Diaboli, I still get some butterflies when they come my way.

Grand Serpent Rising isn’t just a return to form, it’s a triumphant return to form, and easily the best Dimmu Borgir album in over twenty years. For me, the best stuff this band put out came between 1997 and 2003 and this album can comfortably sit alongside the likes of Enthrone Darkness Triumphant, Spiritual Black Dimensions, Puritanical Euphoric Misanthropia, and Death Cult Armageddon.

Strong words, I know, but this is Dimmu embracing their past and through that, finding themselves again. Dimmu Borgir reborn from the ashes of Dimmu Borgir and across thirteen gargantuan tracks they deliver unmistakable blackened grandeur, wickedness, and more.

Emerging from the darkness with commanding purpose, the symphonic pomp is front and centre with the extravagant Tridentium. Which flows nicely into Ascent, a blistering blast of speed and hostile heaviness that can be simply summed up as a throwback track. Dimmu Borgir haven’t sounded this intense in quite some time, and a lot of it lies at the feet of a vitriolic riff/drum combo. Silenoz is still such a beast of a guitarist, but Damage is holding his own, and drummer Daray deserves a ton of credit too.

It’s no secret that Dimmu likes to get a bit extravagant as far as storytelling goes too, especially with Shagrath’s lyrics, and this album is no different. Speaking of spiritual transformation, it’s broad storytelling, but storytelling that adds immersive depth, and a track like As Seen in the Unseen is a great example of this.

Let’s be honest though, it’s hard to judge what Dimmu Borgir does these days as black metal as they have well and truly transcended beyond that straight-forward moniker many years ago. Now it’s as cinematic as it is blackened, and they continue to defy all expectations as far as the combination goes. First, with The Qryptfarer, and then with Ulvgjeld & Blodsodel. The former is reminiscent of later-era stylistic forms, whereas the latter calls backs to an early form, and not just because of the Norwegian-sung vocals.

It’s the refinement that stands out and at the halfway point, it’s impossible to not take note of. Especially when it comes in such devilishly dramatic fashion as it does via the Repository of Divine Transmutation. Then there is the Slik Minnes en Alkymist, a highly melodic listen that experiments with the traditional Dimmu Borgir epic structure. Before Phantom of the Nemesis caps off a strong section of the album with heightened intensity that sees Shagrath really pushing his vocals hard.

For me, what makes this album so special is how interesting it is and how I never really found myself getting bored. A 13-track Dimmu Borgir album is a hell of a lot to ask of a person, but they do a good job of holding the attention, and a lot of that can be attributed to the track listing that keeps tracks varied.

There are plenty that are similar, but they’re nicely spread out, and even then, there’s always something that stands out. Such as the way The Exonerated’s fieriness meets intoxicating melody that pushes the extravagant side of the band to even greater heights.

When a band is on this kind of creative streak, it’s no surprise that they’re willing to ignore modern musical conventions such as keeping your album to a listenable length. Attention spans aren’t what they once were, but I do think if you’re willing to be immersed here, you will be, and while Recognizant isn’t the most effective track, it’s still likable.

Whereas At the Precipice of Convergence is dark and elaborate, Shadows of a Thousand Perceptions is haunting and heavy, and Gjǫll is sumptuous symphonic pomp. Dimmu ending the album as they begun, and in very stylish fashion.

Dimmu Borgir – Grand Serpent Rising Track Listing:

1. Tridentium
2. Ascent
3. As Seen in the Unseen
4. The Qryptfarer
5. Ulvgjeld & Blodsodel
6. Repository of Divine Transmutation
7. Slik Minnes en Alkymist
8. Phantom of the Nemesis
9. The Exonerated
10. Recognizant
11. At the Precipice of Convergence
12. Shadows of a Thousand Perceptions
13. Gjǫll

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