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IHSAHN

Tech/Extreme Prog Metal • Norway


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Ihsahn biography
Vegard Sverre Tveitan - Born 1975-10-10 (Nodeland, Vest-Agder, Norway)

Ihsahn (real name Vegard Sverre Tveitand) is a talented Norwegian composer, multi-instrumentalist and vocalist, infamous for his work with the definitive Black Metal/Extreme Symponic group EMPEROR and the Avant-Garde project PECCATUM, and a solo artist since 2006.

Vegard took up the piano when he was seven, and started playing the guitar at the age of ten. Having met an adherent in Tomas Haugen, better known as Samoth, Ihsahn formed a Death Metal group Thou Shalt Suffer, where they recorded two demos. Ihsahn would later come back to the project in 2000 in order to record a neo-classical/ambient album "Somnium" under its name. Ihsahn's most commercially successful work remains with EMPEROR, with which he defined the sound of the second wave of Black Metal in such classics as "In the Nightside Eclipse" and "Anthems to the Welkin at Dusk". EMPEROR's latest releases, particularly the swan song "Prometheus - The Discipline of Fire & Demise", lean towards a more progressive direction (the songwriting for the last album was entirely done by Ihsahn). EMPEROR ceased to exist in 2001 when the members decided to break up and concentrate on other projects. This allowed Ihsahn to explore his experimental tendencies more freely in the Avant-Garde group PECCATUM, which he formed with his wife Heidi Tveitan (known as Ihriel). Together the two have recorded three full-length albums and two EPs, "Lost in Reverie" being their most critically acclaimed effort.

As PECCATUM split up in March, 2006, Ihsahn started to work on his first solo album "The Adversary", the release of which was initially mentioned not long after EMPEROR dissolved. All of the instruments were masterfully played by the man himself, aside from drums, for which purpose Ihsahn hired the virtuoso Asgeir Mickelson (BORKNAGAR, SPIRAL ARCHITECT). In addition, the vocals on the track "Homecoming" are done by by Kristoffer "Garm" Rygg known for his work with ARCTURUS and ULVER.

"The Adversary" combines influences from progressive rock, classical and heavy metal, as well as Tveitan's rich experience in the Black Metal field, and is a all-around mature effort. The album is recommended to all fans of Extreme Progressive Metal. Ihsahn currently considers writing a follow-up to the album, as well as finding musicians to reproduce the songs in a live setting.

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IHSAHN discography


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IHSAHN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 113 ratings
The Adversary
2006
3.68 | 99 ratings
angL
2008
3.98 | 222 ratings
After
2010
3.76 | 87 ratings
Eremita
2012
3.95 | 59 ratings
Das Seelenbrechen
2013
3.95 | 114 ratings
Arktis.
2016
3.85 | 86 ratings
mr
2018
3.65 | 34 ratings
Ihsahn (Studio)
2024
4.00 | 2 ratings
Ihsahn (Orchestral)
2024

IHSAHN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

IHSAHN Videos (DVD, Blu-ray, VHS etc)

4.75 | 4 ratings
After
2010

IHSAHN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

IHSAHN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.36 | 9 ratings
Scarab
2008
4.17 | 10 ratings
Undercurrent
2010
4.29 | 7 ratings
Arrival
2012
4.33 | 6 ratings
NaCl
2013
0.00 | 0 ratings
Mass Darkness
2015
0.00 | 0 ratings
Stridig
2019
0.00 | 0 ratings
Nord
2020
0.00 | 0 ratings
Spectre at the Feast
2020
0.00 | 0 ratings
Manhattan Skyline
2020
3.26 | 14 ratings
Telemark
2020
3.21 | 15 ratings
Pharos
2020
3.04 | 5 ratings
Fascination Street Sessions
2023
0.00 | 0 ratings
Pilgrimage to Oblivion
2023
0.00 | 0 ratings
Pilgrimage to Oblivion (Orchestral)
2023
3.00 | 1 ratings
Twice Born
2023
0.00 | 0 ratings
Twice Born (Orchestral)
2023
3.33 | 3 ratings
The Distance Between Us
2024
0.00 | 0 ratings
The Distance Between Us (Orchestral)
2024

IHSAHN Reviews


Showing last 10 reviews only
 Ihsahn (Orchestral) by IHSAHN album cover Studio Album, 2024
4.00 | 2 ratings

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Ihsahn (Orchestral)
Ihsahn Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars When the new album was released in February 2024, it was something of a surprise to fans to discover there were two quite different but closely related versions coming out at the same time. When Ihsahn composed the album on piano, he did so with the intention of not only having an orchestra take on an important role within the album but also for that music to then stand alone in its own right. Interestingly I have seen very few mentions of this version of the album, which is a real shame as I am having difficulties deciding which is the superior, with this album containing some wonderfully classic influences by the likes of Beethoven and Wagner, and the lack of guitars and rock instruments not being missed at all.

Some many notice the cover on this is almost the same as studio album, yet slightly blurred, almost as if something is out of focus yet while that may be the case with Ritxi Ostari, the same cannot be said for Vegard Sverre Tveitan who obviously has laser focus on what this album needed for it to come to fruition. This never sounds as if there is anything missing, it feels complete in every way, so I am not sure if there have been any changes in the arrangements from what appeared on the studio release, but I would be surprised if there were not. Due to the alphabet I actually played this album prior to listening to the other one and was incredibly impressed with just how well this stands up, and there is no doubt in my mind that if Ihsahn ever wanted to move away from blasting out songs from 'Anthems to the Welkin at Dusk' then he would be welcomed into the classical music fold with open arms.

The strings are a thing of beauty on "A Taste of the Ambrosia", building passion and emotions in an incredible way as Ihsahn shows just why he is viewed by many as one of Norway's must important musical exports. The question now is where to from here? Ihsahn has created two albums which both stand in their own right, are interlinked but very different in their approach. Superb.

 Ihsahn (Studio) by IHSAHN album cover Studio Album, 2024
3.65 | 34 ratings

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Ihsahn (Studio)
Ihsahn Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars There is no doubt that Vegard Sverre Tveitan is one of the most important musicians to ever come out of Norway, and if he had just retired after Emperor originally broke up in 2001 his legacy would have been huge. Of course, that was never going to happen, and as well as reforming Emperor a few times he has released solo albums which see him continuing to push music in new directions, although he has always maintained a close connection with his black metal roots. Here we find him combining black metal with orchestra yet ensuring that that the orchestra could still work on its own without lyrics or crunching guitars, producing two albums which are obviously closely linked (same songs and track listing) yet are also very different indeed.

This is the studio version where he was joined by Tobias rnes Andersen and Tobias Solbakk on drums and percussion, with Ihsahn's son Angell Solberg Tveitan adding additional percussion and violins by Chris Baum. Ihsahn has always had a wonderfully melodic vocal style when he is not pursuing a black metal style, while his wall of sound and refusal to conform to anyone's expectations always makes me think of Devin Townsend. He may have some guests, but for the most part this is 100% Ihsahn, and it is no wonder that it has taken him the six years since 'mr' to get this out. It is massively complex and complicated, and there are plenty of times when one thinks of this as being Emperor being taken to the logical extremes. There has always been plenty of melody within that band, with influences from the likes of John Williams, and here he is producing a black metal soundtrack for a film which exists only in his mind. It is bombastic, huge, massively over the top and hugely enjoyable. It is progressive metal in a whole new form, and where others have tried to combine metal or rock with orchestra and have normally failed, this is a triumph where the two opposing forces combine to make something quite special.

 Ihsahn (Studio) by IHSAHN album cover Studio Album, 2024
3.65 | 34 ratings

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Ihsahn (Studio)
Ihsahn Tech/Extreme Prog Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

3 stars As one of the pioneers of symphonic black metal with his innovative band Emperor, IHSAHN together with his buddy Samoth left the 90s as one of the most influential and popular black metal bands of the entire decade. While Emperor would stop making albums in 2001, IHSAHN focused on his side project Peccatum briefly but ultimately reemerged as a solo artist in 2006 with a shift to a more progressive avant-garde metal sound that still retained the core elements of black metal. It all began with "The Adversary" and some 18 years later IHSAHN is still cranking out quality experimental metal with his latest self-titled eighth album once again capturing the attention of the world of extreme metal.

Deviating significantly from 2018's "mr" which saw IHSAHN approaching a more commercial sound at times, this eponymously titled release looks back to the Emperor years and rekindles the spirit of symphonic black metal only this time he replaces the synthesized embellishments with a fuller orchestral sound courtesy of advancements in sampling technologies. While orchestrated metal albums are hardly anything new, IHSAHN delivers a anew approach that eschews a mere symphonic backing and rather features two independent musical scores laid upon each other resulting in not only a more dynamic symphonic metal approach but also by spawning a secondary release that features the orchestral side of the equation exclusively.

Almost sounding like Emperor is playing over a Hollywood blockbuster soundtrack of some sort, IHSAHN crafts his usual mix of nerdy progressive metal replete with all the avant-garde elements that makes him exist in a world of his own along with the black metal raspy vocals, thundering guitar riffs and percussion to match. The album that features 11 tracks at nearly 49 minutes is reminiscent of some of Dimmu Borgir's later releases that offer an equal playing field for the orchestral musical score that oft soars above the black metal mania. And while the album sounds like IHSAHN has been accompanied by an entire philharmonic orchestra at times, the guest musicians only add up to three additional percussionists and a violinist leaving IHSAHN the chore of handling vocals, guitar, bass and orchestral sampling.

IHSAHN is actually quite a diverse album (would you expect anything else?) with varying tracks that features clean vocal led prog metal as on "The Promethean Spark" to full out raging black metal on such tracks as "A Taste Of The Ambrosia" but scattered throughout are tidbits of pure classical orchestration as heard on the opening "Cervus Venator" and the middle intermission "Anima Extraneae." Tempos vary, dynamics vary and stylistic approach may but the gist of this is a mix of crunchy black metal in tandem with classical orchestrations. Tracks like "Blood Trails To Love" feature a mix of the clean vocal prog metal with the raspy more extreme black. While hinting at Emperor's past glories, the metal on this release isn't nearly as full throttle as such magnus opuses as "In The Nightshade Eclipse."

Overall IHSAHN is a decent album but it's a bit uneven with no clear stylistic approach really dominating. While that can become a good thing if the sum of the parts add up to something more profound, this album seems a bit scattered which at times reveals both the metal aspects and the orchestral ones seem to cancel each other out a bit. The novelty of orchestral metal has long worn off and the execution of this seems less than satisfying. The addition of dreadfully long moments such as the album's 9-minute version of a ballad - "At The Heart Of All Things Broken" is actually really cheesy and i seriously would love to cut that entire track from the playing list.

The album seems to lose steam too much with half-assed percussion and metal that doesn't get up to full force. The orchestral parts just seem to dance around and don't really offer a very memorable experience either in a meaningful way. All in all it's a decent album but hardly one of IHSAHN's best. All the rave reviews about this bely it's downsides. I was somewhat impressed on the first listen but more attentive listening sessions reveal serious flaws that i can't shake. The patchiness of the album ruins its flow but as on all IHSAHN albums there are more than enough moments of triumphant victory. As a true fan i couldn't imagine not owning this but it certainly won't rank as a top contender for favorite IHSAHN releases.

3.5 rounded down

 Fascination Street Sessions by IHSAHN album cover Singles/EPs/Fan Club/Promo, 2023
3.04 | 5 ratings

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Fascination Street Sessions
Ihsahn Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

3 stars It must be said that this is a somewhat unusual EP, not so much in the output, but in the reason for doing it in the first place. Ihsahn joined forces with URM Academy's online educational program for music production, and producer/engineer Jens Bogren (Opeth, Dimmu Borgir, Arch Enemy, Powerwolf) of Fascination Street Studios to create some course content. Ihsahn wrote some demos, and then the whole process of taking those and turning them into a finished product was videoed, with additional commentary then added to that to describe what was taking place and why. Ihsahn was joined by his long-time drummer Tobias rnes Andersen and keyboardist ystein Aadland, who also provides lead vocals on one song, while Jonas Renske of Katatonia recorded guest vocals to 'Dom Andra', a cover of a track by Swedish band Kent.

I am sure this is going to be a fascinating addition to the course, and a valuable teaching aid, but this is very middle of the road and even the multi-faceted opener which combines commercial rock with some black metal elements does nothing to really make it special. It is highly polished, and Ihsahn's guitarwork is of course wonderful, but I do wish there had been more of it. I was a huge fan of his last album, 'mr', but this not so much as there is just too much mainstream here for me. Perhaps his recent tour with Emperor will get the musical juices running, but this is not something I will be rushing to listen to again.

 Pharos by IHSAHN album cover Singles/EPs/Fan Club/Promo, 2020
3.21 | 15 ratings

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Pharos
Ihsahn Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

3 stars What we have here is the second of two linked EP's, the first being 'Telemark', but while that was deliberately darker and heavier, here we find Ihsahn taking a quite different route. As with the other EP, this contains three originals and two covers, yet no-one would imagine a musician who formed the mighty Emperor at age 16 would show a love for A-Ha and Portishead! Recorded at his home studio, additional drums were provided by Tobias Solbakk, with Ihsahn providing everything else. He says that opener "Losing Altitude" is "a song about choices. Whats worth holding onto and whats just weighing you down", while "Spectre At The Feast", is described as "a fly on the wall perspective on the somewhat superficial aspects of society and all its fictional problems and fragilities." The title cut itself brings together the likes of Radiohead and Elbow, with wonderful clear vocals and is about "finding guidelines, direction, goals and hope. The potential of being a beacon; what and who will you attract to your shores."

The first cover, "Roads", fits in very well with the rest of the EP, both sonically and musically with some nice orchestration, and unless one knew the source one would never imagine that the singer is the same person who delivered 'Anthems to the Welkin at Dusk'. One can only imagine the shock of anyone not knowing his history looking into his back catalogue. This is music which would sit happily on the radio, and that is the case again with "Manhattan Skyline". Here Ihsahn has handed the vocal duties over to Einar Solberg (Leprous), and there is no doubt that this is the highlight of the EP. The vocals are wonderful, almost operatic at times, while Ihsahn provides just enough crunch on the guitars to show what this could be turned into if played fully metallic while staying true to the original.

This may not be what I would imagine when thinking of Ihsahn, and is generally not a style of music I would play a great deal, but one must admit he has done a wonderful job here and given he no longer cares what anyone think of him, if he ever did, then mission accomplished.

 Telemark by IHSAHN album cover Singles/EPs/Fan Club/Promo, 2020
3.26 | 14 ratings

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Telemark
Ihsahn Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

3 stars Ihsahn surely needs no introduction, and here he takes a slightly different track with the first of two five-track EPs inspired by and dedicated to his home county of Telemark. "Having released full-length records nearly every second year since I was 16, I felt it might be time to try something else," he explains. "Also, I wanted to approach what I do in a way that felt natural but also to try to adapt it to the way that music is now performed and experienced. I have seven solo albums out now, so the first EP is like a small recap, in a way. I did touch on some of the same thematics with 'Arktis' but this time it's closer to home, both musically and, dare I say, culturally."

He took two songs as a base, Lenny Kravitz's "Rock & Roll Is Dead" and Iron Maiden's "Wrathchild", and then wrote three numbers which had the same sort of sonic approach and attitude, and then recorded the two covers as well giving us the five numbers on the EP. Here he is showing the depth and breadth of black metal, mixing it with folk when the time is right, but always with the intensity and power we have all come to expect and love over the years. Personally I would have preferred it if he hadn't included the two covers, and left it to our imagination, as "Rock and Roll is Dead" sounds somewhat strange, and "Wrathchild" is rather limp with the guitars just not in your face enough ? and take it from me this is not a song which needs horns (brass as opposed to devil's). But these two are at the end of the EP, so when playing this I just leave them off. It's a real shame as the other three show that the master of black metal is still at the top of his game with his own music. It will be interesting to see what the next EP is like.

 Pharos by IHSAHN album cover Singles/EPs/Fan Club/Promo, 2020
3.21 | 15 ratings

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Pharos
Ihsahn Tech/Extreme Prog Metal

Review by lukretio

3 stars Pharos is the second of two EPs released by Ihsahn this year. Here Ihsahn delves deeper into the more atmospheric and melodic elements of his music. Clean vocals, minimally distorted guitars, synths and electronic beats dominate the album, which however does not dispense with occasional bursts of rawness in some of the tracks. With lyrics in English and a sound that feels modern and poppy, this is deliberately a very different beast than the other EP Ihsahn released this year, Telemark. However, despite the lighter musical approach, the atmosphere remains dark and somber, at times even doomish ? bringing to mind the recent works of bands like Leprous (whose singer, Einar Solberg, guests on one track here) and Ulver.

In keeping with the structure of its companion EP, Pharos also features a mixture of originals (three songs) and covers (two songs), for a total of nearly 25 minutes. The three originals offer a slightly more experimental version of the sound that Ihsahn has previously delivered on tracks such as "Sámr" and "Twin Black Angels" from his previous album Ámr. It's deceptively easy-listening music, where the light, spacious arrangements and clean melodic vocal lines are contrasted with dissonant guitar arpeggios, ominous sound effects, dark choral vocals, and unexpected bursts of chugging distorted guitars. The vocals are melodious but retain a dark, cold undertone and the melodies, while poppy, are never too catchy. The result is music that is easy on the ear, but surprisingly difficult to assimilate and relate to. It's only with repeated listens that I came to appreciate the full depth of the arrangements and the beauty of songs like the title-track "Pharos" and "Losing Altitude". The title-track is easily the highest point of the EP, featuring a mesmerizing contrast between the sweet, melodious waltz of the pre-chorus and the dark, ominous choral vocals of the chorus. I was less impressed with the other original song, "Spectre at the Feast", that feels somewhat more run-of-the-mill to me.

The two covers are the true surprise of the EP, though. On Telemark, the covers disappointed me, feeling awkward and out of place. On Pharos, they are simply spot-on. Portishead's "Roads" has exactly the same dark, subdued atmosphere that permeates on the three original songs of the EP. Musically, the song rests on a dark, distorted guitar arpeggio, treated and delayed to create a hauntingly beautiful, hypnotic effect. Ihsahn's slightly strained falsetto vocals might catch off-guard at first, but it beautifully conveys the fragility of the lyrics. The other cover, "Manhattan Skyline", is a song by Norwegian synth-pop band A-ha. Ihsahn's arrangement does not stray too far from the original (extravagant synth sounds included), although it provides more punch and drama on the explosive chorus. In this song, however, the scene is stolen by Einar Solberg's magnificent vocals, starting sweet and mellifluous in the verse to swell dramatically in the chorus.

Overall, Pharos is a satisfying EP that offers five diverse but consistently high-quality songs, and achieves what it promised to deliver: push the boundaries of the more melodic, progressive and experimental elements of Ihsahn's music. As in the case of its companion EP Telemark, the push is however not too hard, and Pharos does not fall in radically different territories relative to Ihsahn's previous output. What is remarkable, though, is how Ihsahn managed to create grim atmospheres using a musical palette that is largely comprised of poppy, light-colored tones, showcasing once more his outstanding talents for composing beautifully dark and dramatic music.

(Originally written for The Metal Observer)

 Telemark by IHSAHN album cover Singles/EPs/Fan Club/Promo, 2020
3.26 | 14 ratings

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Telemark
Ihsahn Tech/Extreme Prog Metal

Review by lukretio

3 stars The first of the two EPs to come out this year, Telemark focuses on the more extreme, 'black' side of Ihsahn's music. The EP's title references the region of Norway where Ihsahn grew up: if that's not a hint to the 'back-to-the-origins' theme of the album, then I don't know what is. Truth be told, however, the music on Telemark is not dramatically different from the type of extreme, 'blackened' metal Ihsahn has accustomed us to with his previous solo full-lengths, with perhaps a tad more folk/epic black metal feel to it and, most notably, lyrics in Norwegian.

The EP is comprised of five songs, totaling nearly 25 minutes. Three songs are new original tracks, while the remaining two are covers (Iron Maiden's 'Wrathchild' and Lenny Kravitz's 'Rock and Roll is Dead'). The three original songs occupy a similar musical territory: fast, icy guitar riffs and abrasive growl vocals form the backbone of the music, that is dark, epic and dramatic. The modern synth/electronic experiments of 'mr are nowhere to be found, and are replaced instead by subtle blackened folk influences that channel the epic vibe of bands like Borknagar or Vintersorg. J'rgen Munkeby of avant-garde metal band Shining guests on the album as saxophone player, providing a stark but beautiful contrast to the gritty guitar and vocal sound. This unusual combination pushes the album in progressive directions, and I cannot help but think that this might just be how King Crimson would have sounded if they had grown up in 1990s Norway.

Among the original tracks, 'Nord' is my favorite, hitting the perfect spot between epic black metal harshness and dark melodic melancholy. Munkeby's harmonic work is sensational, providing a warm but ominous atmosphere that is beautifully complemented by Ihsahn's dramatic and passionate growls. The addition of clean background vocals on the pre-chorus adds a touch of Norwegian epic folk, perfectly channeling the theme of the song. 'Stridig' is more ferocious, with the folk influences toned down in favor of a more modern sound, while the tables are turned on the title-track 'Telemark', which opens with a folksy guitar pattern that will keep surfacing throughout the 7.30 minutes of the song. This is perhaps the most experimental track of the EP, although, personally, I find its structure too convoluted and repetitive, and I feel that the song delays for far too long the delivery of its emotional payload.

The weakest part of the EP, however, are the two covers, which are both eminently skippable, in my opinion. The blackened rock interpretation of Lenny Kravitz's 'Rock and Roll is Dead' feels awkward and never manages to find the right resonance. The excessive repetitiveness of its insipid chorus, inherited from the original, does the rest to make this the most forgettable moment of the EP. The cover of 'Wrathchild' is better, although it never quite manages to shift into gear and move out of the shadow of the original, despite the atypical use of growl vocals and sax harmonies.

Overall, Telemark is a pleasant, if somewhat uneven, exploration of the 'blackest' side of Ihsahn's musical personality. It offers two great tracks ('Stridig', 'Nord'), combined with an ambitious but somewhat hit-and-miss progressive black metal mini-epic ('Telemark') and two mediocre covers. Fans who were expecting a proper return to Ihsahn's black metal roots (i.e. a return to Emperor's sound) will be disappointed, since Telemark treads similar musical territories as Ihsahn's previous solo full-lengths. Nevertheless, the injection of elusive folk/black metal influences and the prominent use of the saxophone help push the music into subtle new directions, infusing it with a strong progressive feel and showing once again that Ihsahn's creativity is truly boundless, even when he expresses it within the monochrome aesthetics of black metal.

(Originally written for The Metal Observer)

 After by IHSAHN album cover Studio Album, 2010
3.98 | 222 ratings

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After
Ihsahn Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "After" is the 3rd full-lengh studio album by Norwegian progressive metal artist Ihsahn. The album was released through Candlelight Records in January 2010. Its the successor to "angL" from 2008. All instruments and vocals are handled by Ihsahn, except the drums which are played by Asgeir Mickelson and session musicians Lars K. Norberg and Jrgen Munkeby who perform fretless bass and saxophone.

Stylistically "After" is a natural continuation of the progressive metal sound on "angL (2008)". Ihsahn sings both raw blackened vocals, but also performs strong clean vocals, and the instrumental part of the music is a sophisticated and very dynamic combination of progressive metal/rock and various more extreme metal oriented elements (and the occasional nod towards avant garde). Both the vocal and the instrumental performances on the album are of a high quality and generally just reek class. References to artists like Opeth, Enslaved, and Leprous are valid.

While Ihsahn certainly isnt the most extreme of artists, there are still some relatively hard-edged moments, and his raw snarling vocals are also pretty rough and probably wouldnt be easy to appreciate, if youre not accustomed to extreme metal vocals. The music also features both melodic sections, and some melancholic atmospheric moments though, which should please fans of atmospheric progressive metal/rock. So its safe to say the material is varied and loaded with contrasts. Dark/light, loud/quiet, hard-edged/mellow. Ihsahn masters most elements to perfection.

All material on the 8 track, 53:04 minutes long album are well written and memorable. While all tracks are equally strong and nothing is sub par on the album, the 10 minutes long "Undercurrent" is to my ears one of the highlights. "After" features a powerful, clear, and detailed sound production, which suits the material well, and upon conclusion its another high quality release by Ihsahn, showing both enough development to keep the fans excited, but also consistency of sound and quality. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

 After by IHSAHN album cover Studio Album, 2010
3.98 | 222 ratings

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After
Ihsahn Tech/Extreme Prog Metal

Review by ssmarcus

3 stars Ihsahn, formerly the lead singer of legendary Norwegian black metal band Emporer, has stated that After was the final album in a trilogy, the first two albums being the prior two releases, the first of his post-Emperor solo career. While the musical or lyrical connection between these albums is flimsy (perhaps nonexistent?), they did serve to prove that Ihsahn's musical ambitions were greater and more varied that what Emperor could have possibly supported within the confines of the Norwegian black metal scene. On After, Ihsahn showcased his ability to craft experimental and unconventional progressive death metal that was still relatively engaging and accessible.

On After, pain and sadness are pervasive. The periodic saxophone lead symbolizes both the soul's cry but also, given that its sax lead on a death metal album, the absolute absurdity of it all. Ihsahn may no longer be making black metal, but black metal still permeates his soul.

Thanks to Trickster F. for the artist addition. and to Quinino for the last updates

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