Dimlight - Kingdom of Horrors: Dimlight Writes History (The Full Story of Humanitarian Tragedy and The Tragic Fall of the Hero)

This introduction may not be important for mostly of you (readers) but it is for me as Dimlight members are reading it. Since the first minute I knew that Dimlight members are preparing for the final part of their “Kingdoms of Horror”, I kept thinking how can I react to this step! I still remember my phone call with Peter who gave me the chance to review Dimlight’s “Kingdoms of Horror”, still remember those beautiful moments I shared with the band in 2016, and 2018 in Cairo beside the Nile, and still remember the warm conversations between me and Nik, Jim and Mora. So, at one of the darkened final nights of February, my mind triggered me "let’s do something great and appreciate talented Dimlight’s guys."

I got my copy from “Bowel of Madness”, and collected the Novella, and the three parts together! And with a strong scream I said “Let’s live the journey from A to Z”! and I asked my  talented Colombian designer, Lina Ardila to set a suitable and impressive design for the main photo of the article

Ladies and gentlemen, all you need now is having patience to travel with me through a tragedy that faded beneath the dust of history, and the shades of oblivion.

I- Realm Of Tragedy

Realm of Tragedy is the first part of Dimlight’s triology. According to Dimlight’s vocalist Mora, Realm of Tragedy and Kingdom of Horror narrate a same story but from different perspective. 

Realm of Tragedy is talking about the history of the kingdom and the conflicts aroused above the Earth and the tragedy of the man who aimed to traveled to the Underworld.  

The album is a beautiful and spiritual instrumental release. A well composed music which is more into Postrock style. All you need is giving your soul the chance to imagine the forgotten stories of the empires that swallowed by the sand and the sea.

The first track is “Magian Light”. according to “Bowels of Madness” novella, there was a kingdom that swallowed by the ocean by “The Great Cataclysm”. After that, a new empire was established under the name of “The Empire of Nemorensia”. 

A conflict aroused between the rooted natives and the newcomers so, the empire set a new law called “Naronian Law” which “administrated by the Magian cast - a selective and secretive order of loyal servants of the emperor”. The track of “Magian Light” is opened with amusing guitar tunes as an exposition of the story. It is like a ghost which is moving between forgotten and un-narrated stories of time.

The first part of the track gives me the image of gazing at the sand while imagining the empire that once dwelled above the spread waves of yellow and under the golden rays of the sun. There are some whispers and spoken echoes within the Melodic parts of the track. It is like a chase between the light and shadow.

“Across the Iovian Sea” is the next one. This track for me represents something unique. The Bay Of Iovia, in Dimlight’s novella, is the stream of water beside the “Jewel of Nemorensian Empire”, Naronia. You can trace that the sounds of the track bring to your head the salty smell of the sea, and its brighten blues under the rays of the sun. But within those amusing and  flying vibes, there are powerful and dynamic melodies remind me of the anger of the sea that once swallowed the previous kingdom. Moreover, it reminds you of  the strength of the sea. It is a vital and vivid part of nature that witnesses all events take place on its shores and it can also take the revenge of the weak. That’s why I understand why the emperors of Nemorensia did their best to protect their cities against the oceanic beast.

Next is “Sorrows of the Weak”. This track -as for me- is the best track in the album. In fact, I couldn’t specify who are the weak exactly in the story: the survivors of the Great Cataclysm who consider the Nemorensians are just new comers, or the poor who surrendered to the unfairness of the tyrants, or people who asked the old gods to save them and the gods left them disappointed. Now, you realize why “Sorrows of the Weak” is dressed in broken and emotional melodies and it is colored in colors of darkness and despair. 

A hundred tragedies are narrated through the harmonious lines. If you are a big fan for Postrock music that influenced with Depressive Black Metal, you can connect that the music is close to Apati’s style. The pain of the weak is raised that’s why the riffs of the track is getting deeper and deeper especially through the last 2 minutes.

Upcoming track is “A Sunset in Os”. Sunset word here carries a metaphorical meaning, as the track is expressing the miserable end of “The Isle of Os”. Yeah, the track is started with grieving sounds but it carries different dynamic movements. “A Sunset in Os” represents the best soundtrack for the accident. 

According to the story, Athanor, a simple fishermen who used to sail in the sea between Nemorensia and the Isle Of Os, the sea of Iovia. Athanor suffered from a tragic event, he knew that his wife is in love with another man! So, he chose to sail in the sea of Iovia and at the same time his soul sailed in the darkened streams of his thoughts: the conflict between Nemorensia and Os, his unhappy life, his wife betrayal, and his little twin daughters. 

After his return to the village, “he approached the village over the sandy dunes, strewn with sea daffodils, he immediately realized something was amiss”. He though that the fired red and orange light in the sky is just a reflection of the sun at the sunset but when he stepped closer, he realized that it was a blaze of fire that turned the whole village into “an inferno”.

Now, you understand the reason of making the track of “Sunset in Os” that dynamic. The mazes of the tunes express the complex process of Athanor’s stream of consciousness. And the darkened extreme part at the Middle of the track is only Athanor’s shock while watching his village under the fire. The following rhythms are just expression for Athanor’s running through his village after the destruction and watching the bodies of the dead, the flown human parts, and finding his daughters and wife dead.

“The Old Gods Yet Dream” is on now. It is the darkest track in the album. The idea of the old gods is a problematic through the novel, as they represent to folk religion of the people before the Cataclysm, and their shrines are abhorred and rejected by the Nemorensians. Also, the native saw their old gods are cruel and mistrusted, but people kept visiting their shrines and believing in their supernatural powers especially in the kingdom of the underworld “Irkala Kar”. 

After the catastrophe of Os, Athanor met an old man who talked him about the old gods and underworld kingdom. “Mortals could enter into the underworld and meet again those who they had loved in life”.

That’s why the track is extreme, very evil and darkened! It is like searching for the unknown, walking into realms of ambiguity and ancient legends that people forgot. Also, the track carries fast-tempo parts to deliver the feeling of the strife between people, empires and gods!

Finally, “The Rule Of Fear” which I consider it a continuation for the effect of Os catastrophe! Blasting drums with active guitars and bass like giving the impression of fear and misunderstanding. There was once a village that turned into ashes without noticing the identity of the doer. 

Alerting guitars melodies express Athanor attempts to reach the gates of the underworld and meet the old gods that dwell underneath. Also, the music echoes the tyranny of the emperors.

Now, we can happily say that the first part is ove, but remember! Athanor reached the shrines in the east and the forest which believed that it is “Irkala Kar” entrance.

II- Kingdom of Horrors

"Kingdom of Horrors" is the second part of Dimlight's trilogy and it is the climax of the story! The previous part ends with Athanor on the entrance of "Irkala Kar", so let's follow Athanor journey into the mysterious kingdom of the Underworld.

Musically, "Kingdom of Horrors" carries the essence of Dimlight's music with amusing progress in composition and performance. I liked that Dimlight employed story telling and narrative techniques, I mean the presence of a narrative part before each track. The album initiates with sounds of blood, crime, winds, and a horrific orchestral sounds. Shortly, those sounds are accompanied with narrative sound. The story begins!

When Athanor reached the forest, he found a priest, or old man. He firstly thought that this man is the keeper or the guard of the shrine. Unfortunately, Athanor was involved in a fatal fight and killed the old man. Athanor body was almost covered with rad hot bloods, that's why the dead souls of the shrine thought Athanor is their king, but a "[Red] King in the forest".

 "The Red King" is the first track of the album. It starts with harmonious symphonic sounds with fast-tempo music. The riffs are very dynamic, powerful and they are backed with well-structured orchestral base. The track simply reflects the fight that Athanor had, and it described the event beautifully through the lyrics.

You will be crowned the new king

And please the goddess of midnight,

By moonlight, with crimson offerings…

Sleepless, underneath the oak, the old priest

Craves oblivion:

For long years he served as a king,

He’s grown weary of his bleak reign

For he ruled alone and desolate, a Sphinx,

Keeping secrets deadly…

Before the second track "Beryl Eyes", there is another narrative part gives you a hint about the upcoming chapter. After Athanor wakes up, he found himself haunted by different souls who kept kissing him. Athanor doesn't understand what is going on. Then, "he heard the sicking sound of his own eyeballs being torn out his skull". His eyes were replaced with new "large beryl stones, almost shaped like human eyes". Suddenly, Athanor hear a high scream "Let him see Hunting Mother," "first let him see with the true sight and then we'll make him feel with a true hear, so he may be king."

So, "Beryl Eyes" reflects a deep shock for Athanor when he realizes that the world doesn't seem as he believes. So, through the music, you can trace the reflected colors, the demonic voices, the beginning of fear, and horror that he saw through his new eyes. The music of the track is full of headbanging riffs, black painted melodic tunes; epic symphonic sounds enrich the rhythms that reflect Athanor struggle against the souls around him when they caught him to give him his new eyes. Also, The track carries powerful progression of sounds and the combination between the female vocals with high pitches, strong, attractive growling with echoing voice of choirs.

Athanor managed to see the real shapes of the ghosts, and the underworld creatures through his beryl eyes and he followed the wind to the lands of "Irkala Kar".

Beryl Eyes

Replace his pale mortal sight

Even as he screams

(To) Gods deaf to his pleas,

Threatening to tear the veil asunder

Let him see

What lies below…

Night overtaking my sight - my crescent blade, fly!

Crimson sprays

Anoint my face with the mark of death!

"We, the Bones" is the upcoming chapter. It is one of the most extreme, and horrific tracks in the album. It narrates the earliest steps for Athanor in Irkala Kar. He thought that the wind is talking to him, but through his beryl eyes, he realized that he was talking to bones and skulls. You can touch the taste of fear, and hunger through the alerting, energetic guitar melodies  and the beautiful reflective symphonic background especially after hearing those "jumbled voices". The lines of the orchestra beautifully, accurately mixed with the Guitars, and Drums. The orchestral lines somehow ring the bells to Septicflesh symphonic taste. The music portrays deeply the real suffering, and tragic agony. Through different gear shifts, and various fast tempos

We, the bones, guard faithfully the gateway…

To venture where all flesh is consumed, and nightmares take on form.

After Athanor confrontation with the bones, he stepped deeper into the darkness of Irkala Kar. He "was failing - failing for what seemed an eternity." He kept gazing at the "scenery" around him. He saw "slopping mountainsides converged into a vast, bottomless crater from whence flames spurted skywards...It was from thence that the thick clouds of grey fumes that masked the sky issued forth and pulsation of the flames was like the beating of the heart of a living thing." 

The quoted description from the novella is simply expressed on the cover of the album and the book. It is really smart that the members of Dimlight and their partners manage to activiate the imaginations for their readers and listeners then simply give them a visual and catchy image for the scene.

Athanor stood against all that with mixed feelings from fear and horror, a hundred of questions wandered in his thoughts, he is no longer aware where he was. All those feelings are beautifully scripted through "Into the Thrice Known Darkness." 

It is like a musical break, and it is the most melancholic track in the album in my point of view. It is full of Gothic darkened sadness represented in beautiful Mora's sound. Mora's performance is closer to Evanescence's "Like You" performance and mood. Yeah, they may so close in death mood, but they also close in vocal structure. It also carries Sounds of emotional weeping keys, the feelings of fast breaths as death is around.

Lo! Twin paths unwind ‘neath subterranean skies

Where sanguine glows a loathsome sunlight,

Vibrant, alive,

That soon will fade to ashen gray

And I see…

After that, Athanor suddenly saw "a great plastic arched gate looming in the horizon like a threshold leading into the ash-strewn nothingness of the surrounding wasteland ." Anathor reached a dangerous point into the realm of the dead, he crossed "The Gates of Horror". That's why "Beyond the Gates of Horror" is in my point of view an audio representation for the scene. Epic symphonic intro symbolizes inner fights, drastic eternal and external battle Hyper, powerful musical structures wander between different tastes of extreme symphonic music. Reflecting a running wounded souls into the deep rooms of darkness. I like the symphonic interludes between the extreme parts; it is like a call for a deeper imagination.

The Vengeful dark red of skies like dying embers,

Lie strewn above me – A cyclopean gate

Now before me looms,

Arched in ways that put Geometry to shame…

Athanor character was deeply changed and progressed through his journey, he was involved in dozens of fights, he shaded massive blood, his beryl eyes were getting redder and darker. Moreover, Athanor gained working pairs of wings. 

The upcoming chapter in the albums is "The Ecstasy of the Hunt". It is a continuation for the fight so the status of waving, flooding tunes is still on. High rhythmic melodies like running into mazes, screaming high, shifting weapons, and flying parts. One of the special features of this track is Peter's performance. The track carries different extreme parts, different parts of growling but Peter's vocals are like the real transitional powers of this track. He controls, and leads his vocal chords powerfully to grab your ears into the music. The musical combination that represented in this track captures a horrific shocking image for a bloody battle. 

When the barrier breaks between the worlds,

When the living serve the dead, in chains, they’ll see

Their world fulfills its Fate and sink consumed

By spell, by blade, by the assassin’s art, I’ll hold on to my vicious crafts

I’ll raise my scissor high as scepter then and call the rampant waves to crush

Athanor in his journey met a beast who uttered a word he heard a lot through his journey in Irkala Kar, "the judgement" and "the truth". 

Tower of Silence reflects like deeper, blacker feelings. It carries real sound of silence death, or thinking of death, echoing pain of dying falling souls expressed in melodic, dynamic riffs. High presence of choirs enriches the weight of fight. The track simply reflects Athanor's confusion and overthinking. He started to drew dozens of comparisons between the world above, and the underworld. He is not only shocked for what he saw, but also for the changes that targeted his body.

He is still thinking of all those underworld creatures who mentioned the judgement and the truth. He found himself trapped in "a place where no time existed physical fatigue also became a thing utterly relative. Everything seemed to happen rapidly and, simultaneously, with the slow pace of eternity. Events flowed by the loose cohesion of a nightmare - a nightmare without end."

Prayers stolen from lips

Shall be my trembling magian light

Inside the dark that holds enthralled

Irkala KAr…

Corpses all around me stare with hands proffering gifts…

Go, now; raise an obsidian wall inside you;

Thought damned, you still can yearn for thy return:

Call out that name the dead won’t say aloud

The seal of judgment is now erased!

Through his journey, Athanor met a weary creature who called him "my body", this shadowy creature told Athanor about the "the hall of judgement", and how to escape "Irkala Kar". This shadow was called" Sarkany", that's why "Serpent's Pact" track's lyrics started with its name. 

You can call my name: Sárkány!

I’ll set you free from this dreaded, black tomb…

For I desire to quit at last

This putrid womb where nightmares are conceived!

Hate yearning for release shall be the key

To setting us both free!

Serpents Pact beginning is somehow interesting! In the narrative part before the song mentions "say my name" which is repeated in the first second of the song with terrifying and strong screaming, the flooded riffs, the blasting drums, the second narrative parts within this melodic orchestra.

Athanor's body was shared with Sarkany to give them the chance to escape from the hell of Irkala Kar. But, before their leave, they needed to go the "hall of judgement". "[Sarkany] told him how all paths in the underworld inevitably led to the Hall of Judgement, where the old gods dwelt. There, they welcomed the purified dead, after they welcomed the purified dead...their tortured bodies were burnt to crisp until nothing remained but a sole gem, the Lapis Animea." 

Lapis Anime carries distinctive keys/orchestral work. It represents the epic fall, the tragic fall. Its extreme melodic mood signifies calling for freedom.

My Rotting Lord keeps what remains of my soul;

He shall be my guide to realms above

Into such freedom or to Hell,

As he doth see fit… It matters not to me now –

My Stone is black with chthonic dark!

"When he reached the hall of judgement proper he found that there were no doors...there at its center, stood a basaltic pedestal and all around it rose towering and brooding the status of the twelve old gods." After that, Athanor heard a majestic sound told him, "Are you ready to receive the cleansing flame and let thy truth be made manifest? the twelve voices in unison demanded."

Suddenly, Athanor screamed high and said "Sarkany, deliver me and come unto me" then something messy happened, the statues of the gods smashed into pieces and the hall of judgement crushed down. Athanor managed to escape from the hell of Irkala Kar.

He decided to feel his rebirth that was at his hands, and decided to be the hero of his own tale.

Finally, Bleeding Sunrise which tells the phase of heroic tragic fall or the end of our hero after all these battles. He realizes that the best way of asking salvation is going to death bravely

That's why this song is the most one carries a longer, clearer orchestral and keys lines. Actually, I consider this track as a whole epic within itself

The intro is as exposition, or the inner blaming voice, then the dynamic active tunes of guitars are like the rising action, or taking the action of death, next the weeping, mourning sounds is like the falling curtains or writing "the end" phrase for this story. The high screams, the strong growling, the catchy female voice with its high pitches dramatized this epic fall.

No more shall Fate grind me in her crimson maws of steel;

Now the Sun is mine!

Its flames put out by the red rain from my knife…

Now the Sun is mine!

Free at last, reborn from death,

Thrust Me

As a comet from on high (flung) in divine wrath:

I’ll rule the realm where once I served…

Actually, I don't have nothing to add more than I mentioned above. The album is really epic, well-written and well-performed. I want to greet the great man and his catchy narrative voice, the storyteller Marios Koutsoukos. blasting drum beats energized the sense of epic. Finally the catchy, wonderful symphonic/orchestral structure and keys are really beautifully written, and  arranged accurately with the rest of the instruments.

III- Symphony Of Horrors

Symphony of Horrors is the final part of Dimlight's trilogy. It is a ten-track instrumental album focused on Athanor's calling his memories in the realm of the underworld. According to the final lines in the "Bowels of Madness", "All Athanor could hear was the pounding of his heart, a sound he had never hoped to hear again, and the echo of his own breathing. What a beautiful symphony of life these two made."

The first track in the album is "The Solace in Death's Dream". It is opened with dreamy Atmospheric/Ambient sounds with some echoes of screams and horrific whispers and it is closed with depressive strings tunes. Next one is "Descent into the Stygian Dark" the mistful sounds and epic drums created a real epic, mythical atmosphere especially through the choirs lines. The music is like walking into a battle or war. Next is "Horror Unfursl its Wings". It gives you the impression of Athanor's journey into Irkala Kar that's why the music is shocking, confusing, full of ashen haze and smell of burnt flesh. The upcoming track is "Basaltic Towers of Silence". It is opened with majestic singing choirs with amusing solo singing within the choirs voices. Charming strings vibes express the greatness of gazing at those great standing towers. But, this track carries a special thing which is high noted keys sounds. 

 "Where Abominations Rule" is the upcoming track and in my point of view it is the best track of the album. It is so powerful, and well-composed. The harsh, catchy sounds of strings with drums and choirs express the real meaning of horror and fear. Now, it is "The Black Soul of Irkala Kar" turn. It is the longest track in this album. You can consider it as the heart of the album, through ambient giving you the impression of expecting something of fearing something. The rising sounds of violins with the harsh beats and choirs. It portraits the weary, shocking scenes in the underworld, the shadowy ghosts, the spoken bones, the huge darkened and fumed tunnel and the endless mazes of the realm. 

Next is "Crawling through Despair's Battlefield". It is a short track mainly consists of drums, war drums, it is just a reflection for Athanor's fights in the underworld. Then, "Palace of Elder Ones", simply it talks about the final scene in the underworld, where Athanor stood at the heart of the hall of judgement, where the 12 old gods dwelt. Rising sounds of violins with rising chanting of the choirs, brings the soundtrack of celebrated films' soundtracks. 

The upcoming track is "The Grim Fate of the Blessed". It is the final chapter in Athanor's journey in the Underworld. It is full of fear, hunger, regret, and sorrow. Athanor wanted to hit the underworld to see his wife and daughters again, and bring them from the lands of the dead, but he faced an ultimate waves of suffering in a world without escape. So, the track is so depressed and spiritual. Through those sorrowful strings, Athanor recalled his tragedy and remembered that his life has no meaning.

The final track is "Beyond Death's Icy Grip". I think, this track means Athanor decision of hanging himself to end his own misery and enjoy with the latest blessings of being a mortal creature, so you can feel the victorious riff as the call of salvation finally comes, it is not only a victorious because Athanor's decision of set himself free, but because he may be the only mortal who managed to escape from the realm of the underworld, from the hanged shades of Irkala Kar. 

Finally, Hope you (readers) managed to reach the end of the article, I know, It is long and full of details, but it is worthy. Dimlight gives their local scene and the whole world a unique work. Not only musically, but literally. I think, I expressed my opinion in the music in detail, but now I will talk some about "The Bowels of Madness". Actually, the book is really beautiful, the employed diction is suitable to narrating such a mythical legend. Many literary references alerted me, for example Anathor incident with his wife recalled the story of the Iliad's Helen. While, the expression of the underworld and mentioning "The Waste Land" reminds me of T.S. Eliot's "The Waste Land" poem. While the description of Irkala Kar is somehow influenced with the fine art a lot. I advice you to read the novella. It is really expressive, exciting and beautiful.

Dimlight are:

Mora: Vocals

Peter: Vocals & Guitars & Music producer 

Nik: Guitars & Bass

Jim: Drums

Marios Koutsoukos: Bowel of Madness Novella writer and lyricist 

Apostolis: Orchestra composer

Jean Baptist: Story Teller 

Manthos Stergiou: Kingdom of Horrors Artwork Designer 

Eva Fourlanou: Vocal lines writer

Photo Credits 

Kingdom of Horrors Artwork by Manthos Stergiou

A Symphony of Horrors Artwork: Designed by Peter and graphics done by Melina Zarkadi

Realm of Tragedy Artwork and Dimlight members album pics by Achilleas Xydis

Dimlight pic in Egypt by Menna Hossam

Main photo designed by Lina Ardila