Review Summary: No longer “that guy from Emperor”, Ihsahn’s latest release is a fantastic work that transitions perfectly between styles, all while maintaining the elements that made us respect him in the first place.
Ihsahn is relentless. Since his legendary band Emperor stopped releasing new material, he’s released six solo albums in ten years. While he originally was influenced by riff-driven metal, he broadened his horizons into the atmospheric and ambient as his albums went on.
Arktis is a hodgepodge of everything Ihsahn has done in his career thus far, adding in new elements, as well. This takes so many turns that it’s impossible to guess where it will go next. From symphonic black metal to progressive rock to ambient to industrial, and everything in between, this record has it all.
Right off the bat, the opening track
Disassembled hits with a prog rock riff that sounds straight off a Dream Theater record. Featuring stop-start rhythms, it’s groovy and catchy, and automatically we begin to wonder if this really is an Ihsahn album. His signature rasping vocals are still present, though, and he carries the song’s melody along with Leprous frontman Einar Solberg. Solberg also provides the majority of the vocals on
Celestial Violence. He’s uplifting and resonates strongly on the verses of this track, while Ihsahn explodes along with the barrage of drums and guitars on the chorus. These two have magnificent chemistry, and compliment each other extremely well. Where Ihsahn focuses primarily on his traditional black metal style on these songs, Solberg is able to conjure up magnificent harmonies that work perfectly. However, Ihsahn’s clean vocals are soothing and powerful on the other tracks of
Arktis. He shows us how far he’s come, and his variety of styles are on display on this record.
Disassembled and the first few tracks are primarily rooted in riff-based song structures, but Ihsahn does fantastic work in keeping them from becoming generic.
My Heart Is Of The North boats 70’s-style guitar riffs with Hammond-drenched melodies behind them that carry the song to its’ rocking finish.
Mass Darkness is a fast-paced grooving track that adds atmosphere, with Trivium vocalist Matt Heafy’s backup chants creating a haunting tone for the chorus. The progressiveness of these songs is combined with thrash elements to give them an edge.
Already known for his aggressive side in Emperor, Ihsahn has become a master at intertwining melodic and heartfelt parts into the heavier pieces. The songs on
Arktis weave through moments of guitar and drum driven voyages, then quiet down for moving passages to balance it out. This is found on
In The Vaults, which sees him tackling themes of difficult lifestyles and being down on one’s luck, while incorporating tasteful guitar licks to counteract the somber lyrics and touching piano melodies. Ihsahn does heavy and soft so well that it’s difficult to determine the area in which he excels most on this record.
Pressure includes more catchy guitar licks before exploding into symphonic black metal, harkening back to songs on Emperor releases and utilizing atmosphere while still maintaining the proggy feel that Ihsahn is going for.
Arktis seems rooted in prog music, but isn’t afraid to branch out and get weird. Truthfully, this disc really is all over the place. From the electronica beats of
South Winds to the jazzy saxophone that dominates
Crooked Red Line, this album seemingly has it all. There are moments on
Crooked Red Line that wouldn't be out of place on
Dark Side of the Moon, when the guitars and drums soften and let the astounding Jørgen Munkeby from Shining take over on saxophone. And what is with
South Winds? It’s got a techno beat that resonates an electronica group throughout. It shouldn’t work for a metal album, yet its crushing guitar work and Ihsahn’s trademark rasps paired with the beats make it so damn enjoyable.
Until I Too Dissolve has a riff taken straight from the L.A. Strip. Ihsahn channels his inner Eddie Van Halen, but dials it back to soft, melodic moments when the verse and chorus arrive. Although he utilizes many different influences and styles on this album, each song is unique with its’ own personality and heartbeat that keep it from becoming a ripoff of another artist. Each one also flow together seamlessly for tracks that are so distinct.
Crafting strong and satisfying albums in the past, Ihsahn has always just missed out on that one solidifying record to define him. Here, he's reached that peak. Those looking for old school Emperor will have to look elsewhere.
Arktis sees Ihsahn stretching his creative wings, branching out into all kinds of genres and styles. With a shortage in negative moments on this album, it’s challenging to choose one favorite song. No track is seen as filler. Each offers something fresh and exciting.
Arktis is a fantastic new release in 2016, and is an album that continues to get better every time you hear it.
Recommended Songs
Mass Darkness
In The Vaults
Pressure
Celestial Violence
