Dinenthal is a UK-based Black Metal solo artist, unveiling his darkest chapter yet! On the 2nd April 2024, Dinenthal released his latest full-length, entitled “The Labyrinthe of Auximenes,” that would gratify Emperor and Cradle Of Filth fans. The album was released under DAV Music.
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Dinenthal, The Labyrinthe of Auximenes Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.
The First Three Sins of, The Labyrinthe of Auximenes
Let’s start by discussing the first three sins of Dinenthal and his album, The Labyrinthe of Auximenes
The First Sin, The Strings/Keys:The strings of hell blends haunting melodies and folk-inspired parts with dissonant chords and tremolo-picked riffs. The bass lines provide a strong foundation for the songs, while the synths provide ethereal and cinematic soundscapes. The Second Sin, The Vocals: Involves cold ghostly shrieks to more expressive and narratively orientated ones. The Third Sin—The Percussions: Delves into the vast world of complex rhythms and fast blast beats with slower, more deliberate patterns…
The Fourth Sin: Overall Discussion:
Invites listeners into a world where the sacred and the profane intertwine, shadows whisper secrets of the past, and through the labyrinth is as revelatory as it is harrowing.
Once the listener hits the play button, they are immediately met with the opening track, Interdimensional Blasphemy, followed by nine more pieces that unleash a torrent of intense, dark, and aggressive black metal that is unapologetically confrontational.
The Labyrinthe of Auximenes presents listeners with a haunting forty-five minutes steeped in darkness. Before delving further into this piece, it’s worth noting that this isn’t my first experience with Dinenthal. The Labyrinthe of Auximenes is significantly darker and more unrefined than any of Dinenthal‘s prior works. Additionally, each album Paul releases carries a personal touch. Each track weaves a narrative of chaos and defiance, leaving an indelible mark on all who dare to venture through its haunting soundscapes.
The Labyrinthe of Auximenes’ lyrical concept, keeping it breathy, The album marks a stark departure from their previous work, plunging into a gothic horror soundscape steeped in sorrow, grief, heartbreak, emotional, and an unflinching confrontation with faith. Following the passing of a parent, the creative force behind Dinenthal found solace and torment in music, channelling the anguish and uncertainty of the past two years into a sonic odyssey that is both haunting and cathartic. “The album’s title, inspired by the mythic Labyrinthe of Auximenes—an ever-shifting labyrinth that leads to the lost world of Midian, a dark hidden realm that survived the collapse of the previous universe and the creation of ours—serves as a metaphor for navigating the depths of despair, doubt, and existential questioning. Where past Dinenthal releases embraced sweeping, ethereal soundscapes” [Dinenthal]
As The Labyrinthe of Auximenes unfolds its bleak narrative, it embraces a haunting aura that resonates deeply within the listener’s soul. This intricate composition, borne of artistic and devilmanship expertise, is skilfully conducted and delivered with an air of devilish allure, presenting a rare and forbidden fruit of artistry. This fruit of art creation exudes perfection, akin to a tapestry woven together with delicate grace and precision. Immerse yourself in this forty-five-minute symphonic journey to discover a blend of gothic horror elements woven seamlessly with sorrowful orchestration, chilling synth textures, and poignant lyrics.
Songs like Whispered Ruin of Faith, The Falls of Sorrow on the River of Grief, and Unfathomable Loss alternate between intimate, whispered delicacy and grand, almost ceremonial arrangements. The experience created by this contrast is both unsettling and incredibly human. But this is only the beginning; the fifth piece, Loss, is an emotionally charged and powerful song that is distinguished by its acoustic elements, haunting vocals, and immersive atmosphere.
Dinenthal‘s composition and instrumental arrangement features, a harmonious, but darkly haunting balance between raw force and ethereal beauty. This is achieved by the guitar work that blends haunting melodies and folk-inspired parts with dissonant chords and tremolo-picked riffs through the remainder of the album. Dinenthal‘s bass lines provide a strong foundation for the songs, enhancing their harmonic richness and supporting the subtleties of the atmosphere. The drumming combines black metal’s signature complex rhythms and fast blast beats with slower, more deliberate patterns that heighten the song’s lyrical and atmospheric aspects.
A key component of Dinthenal’s sound, the synths provide ethereal, cinematic soundscapes that enhance the composition’s overall atmosphere and narrative. Finally, Paul’s vocals are essential to both the music and the lyrics; he gives them both life with various styles that range from classic black metal ghostly shrieks to more expressive and narratively orientated ones. Beyond simple loss, The Labyrinthe of Auximenes examines how grief affects faith, modifies perception, and influences how we engage with the unknown. It captures the sensation of being lost in a labyrinth of doubt and looking for purpose in seemingly meaningless places.
Dinenthal‘s album, The Labyrinthe of Auximenes is more than just an album; it is a labyrinth. It invites you to immerse yourself in its sounds through headphones in a dimly lit room, curled up in a chair, swaying to its dark rhythms and ambiance, allowing you to fully appreciate the artistry and devilmanship behind it. When the time comes to release your emotions, turn up the volume to the max and let the raw energy flow!
The album ends with the last song, Vampr’s Lament. As the last droplets of music, vanishes in the dark mistiest of the labyrinth, we would like to thank Dinenthal for letting us review his new album, The Labyrinthe of Auximenes. We will wrap it up by discussing the final three sins and concluding the review.
The Last Three Sins
Let’s discuss the last three sins of Dinenthal and his album, The Labyrinthe of Auximenes
The Fifth Sin, The Memorabilia:
For me, the raw energy and intricate devilmanship throughout the album create an immersive experience, drawing the listener deeper into a sonic abyss. Again, The Labyrinthe of Auximenes does not feel rawer nor darker! It’s rawer and darker, than before, but also heavily emotional. At the same time, music can express so much, and when you lose someone close to you, then that lost and emotion is then channelled in the music, and the few you know Paul, will understand I want I’m saying. Overall, Paul’s has produced another fruit of art release, thinking out the box, the devilmanship, lyrics and composition and production are all fruits of art
End of the day, if you enjoy the early works of Cradle of Filth and the extreme symphonic aura of Emperor, then Labyrinthe of Auximenes, is for you.
The Sixth Sin, The Artwork:
The artwork, looks like A.I., if it’s — well, I will accept it because I know Paul’s has a busy life outside his music, and if you have no time to do artwork or find someone, it can hard. Furthermore, the artwork does capture the dark atmosphere of the music and lyrics.
The Seventh Sin, Disrelish:
There is nothing to dislike in the musical offerings of Dinenthal and his album, The Labyrinthe of Auximenes. Thus, we conclude our review of Dinenthal and his album, The Labyrinthe of Auximenes. I would like to take this opportunity to express my gratitude for your time in reading this article, and I encourage you to explore the work of Dinenthal and his album, The Labyrinthe of Auximenes and his other works.
Members
Paul Taylor: everything
Track-Listing
01. Interdimentional Blasphemy
02. The Ruins of Auximenes
03. Whispered Ruin of Faith
04. The Falls of Sorrow on the River of Grief
05. Loss
06. Lighthouse of the Void
07. Cham Impietatis
08. A Shattered Isle
09. A New Paradigm
10. Vampyr’s Lament
