Ihsahn - Eremita

I'd say the biggest highlight of my first trip overseas two years ago was getting to see Ihsahn play the Inferno Festival in Norway. My favourite musician would put on the best musical performance of the festival (most entertaining went to Mayhem hehe) and even more cement his place, for me, as being the most accomplished musician to come out of the black metal scene. 'Eremita' is the new album from Ihsahn and yet again another outstanding showcase of Ihsahn's talents.

Again, like the other Ihsahn albums, the guitar playing is that distinct technical style I have always enjoyed about the music Ihsahn has been involved in. Whether it be a shredding tremolo riff hovering in the background of a song or those sweeping technical ones twisting and turning before the subtle harmonic comes out of no where. The acoustic melodies that twinkle and sprinkle like dust from the ceiling in a dark room. Ihsahn knows exactly how to execute the perfect balance between technical riffing or just pulling off a really good catchy riff that is really effective. Look at a song like 'Introspection' for example. Nothing ever seems out of place.

Even the different atmospheres he can convey. A melancholy acoustic melody that can emerge into an evil lead break or tip toe like melody. A soothing harmony in his clean voice that breaks out into his necro Starscream like shriek. He hasn't lost his touch anywhere. The almost nine minute long epic 'The Eagle And The Snake' which encompasses all those atmospheres as well as the demented buzz of Jorgen Munkeby's saxophone, which again returns to the fray throughout the album. The bass work even comes off as disjointed from time to time. Think of 'Catharsis' where the bass line plods around like a confused soul scampering around a dark room.

The synth work doesn't appear to stand out as much this time around but it really takes full course in the song 'Something Out There' where it battles out with the disjointed soaring riffs. Reminds me of Emperor a lot in these moments with how chaotic it can be at times. 'Grief' is also some chilling work.

I have to make mention of 'The Grave' with its doom like opening and where Ihsahn's voice is the most torturous yet. The saxophone is just mental. The snares, toms and cymbals all shiver. The gigantic steps of the bass like a giant black boot marking its prints on the mud covered concrete. Also the twisted 'Departure' that opens sombre like and then snapping  and having a mental breakdown before calming down.

Perhaps, overall, I see this album as a journey into the many different feelings we experience in our life time. Sure, the positive ones might be missing a lot here somewhat, but Ihsahn has again represented the others wonderfully here. He again is a step above the rest. For all the jabs you read about black metal, is there any other genre that has evolved so incredibly like it has thanks to amazing musicians like this man?

Ikil