Moi dix Mois - DIXANADU

Moi dix Mois' third full length album showcases band leader Mana's ideal world, the title being a combination of the words Dix (beginning and eternity) and Xanadu (utopia). In keeping with this theme - which is also reflected in the elaborate artwork - it has a dreamy feel, as if walking through an enchanted forest, which is emphasised by the use of angelic choirs as a common, interlinking element.

The album opens with the customary intro, dispell bound, but unlike on previous releases, this isn't a brief forty seconds affair, but a three minute chant designed to draw the listener into the world of DIXANADU. Apocalyptic horns, strings, rhythmic drums and wailing guitars form the backdrop for Seth's mellifluous vocals, creating an uneasy, slightly creepy atmosphere.

There are, of course, the Gothic Metal symphonies that have become the band's trademark, such as the delightful Angelica. Mana's beloved harpsichord and pipe organ, which had been absent in some of his recent compositions, are back with a vengeance and are pitched once more against heavy twin guitars in a typically complex arrangement. That said, the melody is unexpectedly light hearted, with a chorus that seems to soar heavenwards, and there's a sparkling, clean guitar peppered into the mix that adds extra freshness, as does Hayato's drumming. Listen out for the pizzicato strings in the quiet parts! This is Moi dix Mois gold, as is Lilac of Damnation, which opens with a sweet, whimsical intro of xylophone and angelic choirs that leads into a firework of duelling twin guitars and pipe organ; choppy riffing is delicately balanced against quiet interludes and Seth gives his most impressive performance to date.

But there is also some bold new stuff. Metaphysical opens with a set of deceptively gentle strings, cut short by powerful guitars and bass and hard, angry drumming - another great performance by Hayato, who proves to be an excellent addition to the band's line-up. Seth's vocals alternate between menacing whispers and emotional crooning in the melodic chorus, which provides a welcome reprieve from the otherwise relentless brutality of the song. exclude is a stunning fusion of yet more metal guitar, bass and drum work crashed into darkwave dance floor electronics and, in the interlude, some subtle pipe organ. Mana is clearly gaining confidence when it comes to electronics and uses them more liberally, but also more subtly than before. The opening sequence in particular sounds more like something you'd expect to hear from his former protégées, Schwarz Stein.

The achingly beautiful Xanadu is another first for the band, from whose repertoire ballads have been absent so far. The instrumentation is sparse; Seth's honeyed vocals are accompanied only by drums and a gently undulating pipe organ, with church bells chiming in when the lyrics require it. The guitar doesn't come in until the chorus, when the slow burn suddenly flares up and then slowly dies down, only to build up all over again. Despite its simplicity, the result is wonderfully evocative and moving.

A Lapis Night's Dream turns out to be a charming little organ fugue, which serves as intro to Lamentful Miss, the melodic mid tempo number built around Mana's and K's twin guitars that was released as a single last October.

With Last Temptation and Neo Pessimist the album also contains two remakes to commemorate the bands' five year history. They are new takes on Dix Infernal's tentation and Pessimiste respectively and are separated by Immortal Madness, a short crowd hyping interlude that could be described as DIXANADU's answer to MAd iNgrAin. Those who are disappointed to find "old songs" on a new album may be surprised as they bear little resemblance to the originals. Last Temptation has been slowed down considerably and had heavy layers of synthesizer added to create the solemn feel of being inside a cathedral. While Juka almost rushed through the original, the slower tempo now allows the melody to unfold. Neo Pessimist, on the other hand, has been given a drastic industrial makeover, which is not only very different to the original Pessimiste, but also to the rock based live version that was introduced last year.

The album closes with the instrumental Sacred Lake. On his journey of (self) discovery, the wanderer has crossed the world of DIXANADU, he has encountered fairies, been tempted by angels and devils and has been shown another reality. Now he rests by the lake in the heart of the forest and looks at his reflection in the water - what does he see?

Fifteen years into his career, Mana still shows no sign of flirting with the mainstream - quite the opposite. He continues relentlessly on his quest to create his own unique style, fully aware that he risks being passed over in favour of more conventional fare. DIXANADU is Moi dix Mois' most mature album yet; the compositions are very intricate and beautifully balanced between metal, gothic, electronic, and classical influences. It's also their most "western" sounding and its serene, mystical flavour should appeal especially to those who found last year's Beyond the Gate too metal oriented.