Dystopia sounds like the most ambitious black metal band to ever grace the Netherlands. Since formation in 2005 and overcoming hiatus in 2011, this Dutch quartet has been carefully bloodletting progressive elements into a cauldron of atmospheric-ish black metal, crafting concepts and stories along the way. Their newest release, "De Verboden Diepte II: De Weg van de Meeste Weerstand," available through Immortal Frost Productions, is the second part of their "Der Verboden" series, first conjured in 2024. It's only two songs, but their runtimes suggest that they're chock-full of content.

Content is abundant, yes indeed, but something is missing for me to truly love all of it. I emphasize "all" because there are elements I appreciate dearly, the most prominent of which is the existence of Mr. Thomas Cochrane, who handles the trumpet and trombone, among other things. His horn playing not only adds a progressive tinge but also elevates the mood to places where atmosphere and screaming couldn't reach. They're uncommon, and I want more of them sprinkled throughout these two parts. An abundance of horn instruments is a nugatory aspect of any metal record, so Dystopia, feel free to use more. Other progressive aspects are, of course, track lengths (part two reaches almost nineteen minutes, while part one barely crosses fourteen), and the territories they cross in those lengths. Ambient segments are heavily utilized to pass the time, most notably in the middle of "De Ultieme Roeping" (track two). Forceful black metal, featuring blast beats and typical riffing, is as common as the moody, bombastic, and even orchestral moments. The constant back-an'-forth between the two is appealing, but as I said, something is missing...

Perhaps I got my hopes up, but I expected a lot more from Dystopia and this record. For two gigantic tracks, I anticipated a wider array of sounds. Semi-dynamic black metal with some horns was the gist, and while the band did fairly well with what they had, I wish they had more. In other words, it's just fine. Onsia's vocals (both screeched and shouted) are fine, the guitarwork is fine, the drums are fine, and the bass is apparently nonexistent. The incoming score is a result of my way-too-high standards clashing with simply alright music. If and when there's a part three, I want Dystopia to really unleash their creativity, because it's there.

I can still say that Dystopia is one of the more ambitious black metal bands from the Netherlands, mainly because I can't name another one. I can assume that whoever I may name, Dystopia beats them out. Next time, though, I want more.