IhsahnThe AdversaryCandlelight USA
10/10
Approaching masterpiece proportions, “The Adversary” is both brilliant and intelligent, compelling and simply fucking crushing. Expectations were set high for this, the first true solo outing of Ihsahn, the famed frontman of black metal pioneers Emperor. In many ways, “The Adversary” takes up where the last Emperor record. “Prometheus – The Discipline Of Fire & Demise” left off, but expands upon that record’s progressiveness. Painting a lush musical tapestry that’s beholden to everything from Mercyful Fate to ‘70s era progressive rock, tracks like the deeply tuneful “Caught By The Fire” are unexpected in their depth. While the musicianship of Emperor was long hailed by the metal community as being dazzling, the sheer complexity and profound arrangements found on this record take the progressive standpoint of that band’s proficiency a step further.
Of course, all instruments, including drums, guitars, keyboards, bass and vocals were written by Ihsahn. All are performed on the record save the drums, which were laid down with plenty of skill and emotion by session skin-basher Asgeir Mickelson, whom many will recognize from his efforts with Vintersorg and Borknagar. “Citizen” is complemented by some powerful classical inspirations and King Diamond-style vocals, this is a very solid track that will please fans of a thrashier style. But it’s the soft-spoken, atypically commercial-sounding “The Homecoming” that showcases the development of the musical palette of Ihsahn more so than any other track on the album. Spacey, Rush-type instrumental passages coupled with smooth, soaring verses and a hugely memorable chorus make this track a champion, but one that will likely be a dark horse with fans looking for black metal leanings. Even so, this is perhaps the best representation of the sheer diversity of Ihsahn’s musical leanings to be found on “The Adversary.” Although this song is appropriately dark, it is one that would hold appeal to listeners outside of metal. Yes, there’s a touch of the atmospheric leanings of Peccatum contained here, but it’s more evil and convoluted, introspective and stone-faced.
Ihsahn also shows a mellow side on the morose and avant-garde “Astera ton Proinon.” But this track is complemented by a much heavier chorus than “The Homecoming,” creating an interesting paradigm shift that’s a great representation of this artist’s development as a songwriter. Using dynamics for mood and effect, Ihsahn provides listening entertainment that’s properly intense when need be and melodically balanced. Overlaid with passionate, fiery lead guitar work, this track is one that a band like Pink Floyd would have written had they been subjected to influences as intense as the black metal Ihsahn has become renowned for. As it is so rare for any purely extreme musician to graduate to such a level of artistic proficiency, music with such widely sweeping emotions is all the more attractive.
While the sound of “The Adversary” is more than adequate, production is the only flaw to be found on this record. It simply does not have the punchy thunder an album that’s so well-written deserves. When hearing a track that’s more along the lines of black metal like “And He Shall Walk In Empty Places,” (which could have just as easily been a new Emperor cut) the lack of low-end power is evident. Also of note, this record is a touch low in volume in comparison to many big-budget records. Much of this could have been fixed in mastering and for any Special Edition of this record that may come in the future; it would be wise to consider giving this mix a bit more heft on the whole. If these songs were simply a touch beefier in terms of mastering, it would be nigh impossible to not consider this as a perfect record.
Ihsahn’s voice seems to keep getting better over time. In addition to his soft-spoken, melodic, sanitary singing on cuts like “The Homecoming” and “Astera ton Proinon.”, his King Diamond leanings on several tracks and his classic black metal snarl on tunes such as “Will You Love Me Now?” and “Empty Places,” he also explores a variety of other voices. Such diversity as a singer is worthy of comment and it is very commendable for a vocalist from the black metal scene to strive toward multi-dimensional singing. When the songwriter combines the styles at once, as he effectively does on the chorus of “Will You Love Me Now?” – the impressiveness of the approach is multiplied even further. Employing simultaneous duality between a vicious, raspy snarl and a solidly tuneful mid-baritone croon, Ihsahn’s adept placement of vocal melodies on this particular track is quite extraordinary.
Closing out with the epic opus “The Pain Is Mine,” Ihsahn explores textural diversity on an even deeper level, hinting at even more complex and creative projects to come. In balancing keyboards with subtle guitar harmonies, the talented Norwegian carves out a unique sonic sculpture. During the track’s doomier passages, Opera is thrown into the mix as well. Unique scalar movements and guitar interplay that boarders on genius is firmly accented by starkly contrasting keyboard accompaniments and hauntingly soaring vocals. No one can accuse Ihsahn of not putting a great amount of thought behind his work. No matter the frame of reference, the player excels at conjoining musical pieces together like a puzzle, and in the end, each and every part fits perfectly.
Rarely is any solo record as engaging as “The Adversary.” Musically, there’s not a single low point on this record. More importantly, the instrumentation, arrangements and performances to be found here are so lavishly entertaining, this album enjoys a high amount of repeat playability, ensuring fans will not only get the most for their cash, they’ll also get a record that will literally being countless hours of listening gratification.
Written By: The Wizard
