That Dimmu Borgir reached its creative zenith (and its songwriting limit) by the time they released “For All Tid” speaks for itself. In order to prepare audiences for its second album “Stormblåst” Norwegian would-be black metal combo Dimmu Borgir released this little EP. Recorded during the “For All Tid” sessions this little EP was released less than a month after its uneventful debut. Released on tiny Dutch label imprint Necromantic Gallery Productions it was the band’s only release for the label. In between the “For All Tid” and “Stormblåst” sessions a stopgap EP “Tusen Vinters…” was recorded, and slated for release – but it was scrapped. This EP was released before the band’s signing with UK label Cacophonous Records for its second, and only tolerable, album “Stormblåst”.
The first part is a 5 minute long instrumental, while the second part is a barely two minute song that does not justify the much protracted buildup. Why the band didn’t bother to include these two tracks on its debut is another matter entirely. All material for this EP was recorded during the “For All Tid” sessions. To pad out the EP to the required length and to justify its existence as a full price release a re-take of ‘Raabjorn Speiler Draugheimers Skodde’ is included. This in itself isn’t very surprising as it was the only worthwhile track of the preceding album “For All Tid”. There isn’t any evolution to speak of as it feels as a mere continuation. That it sounds the way it does isn’t surprising in the slightest. The material of “Inn Evighetens Morke” was cut from the “For All Tid” sessions, in all probability for a good reason. The EP isn’t bad by any stretch of the imagination, but even for Dimmu Borgir standards the material (especially the second part of the track) feels underdeveloped, and unfinished as a songwriting exercise.
‘Inn I Evighetens Morke’ starts off similarly to “For All Tid” opening cut ‘Det Nye Riket’, and actually is quite atmospheric for its duration. The second part of the song amateuristically breaks into the metal component, and quickly rushes to its entirely underwhelming conclusion. The EP whirls by without leaving much of an impression one way or the other. Like any of the EPs after it the whole thing feels hastily put together. One aspect has improved, and that are the visuals. The sundown cover photo is one of the best in the band’s early discography. As such it is no wonder they ended up signing to UK label Cacophonous Records, who had a knack for striking visuals and breathtaking album presentation. Indicative of the band’s next album “Inn I Evighetens Morke” can’t decide whether it wants to capitalize on its atmosphere, or its metal component. As a result it does a bit of both, and none of it comes off as very convincing.
The EP was recorded at Stovner Rockefabrikk with Bård Norheim producing in August 1994 during the “For All Tid” sessions. As with the sessions from which it is culled the production is very functional in its sparseness. Each instrument is separated enough in the mix, and despite the lack of finances the whole sounds tolerable enough. Similarly as country mates Gehenna, Dimmu Borgir cut an EP for Dutch label Necromantic Gallery Productions before moving to UK label imprint Cacophonous Records. The EP, and its corresponding album, marks the last time Dimmu Borgir would work with either the studio in question and its producer. “Inn I Evighetens Morke” has all the makings of a hackjob in order to move into a better recording contract, and its dubious merits are only that it is part of Dimmu Borgir’s early (and supposedly better) discography. That none of the EP's songs are ever played live says enough about their overall importance.