Source: Album Artwork
Arktis, released via Spinefarm/ Candlelight Records, is the sixth solo album from Ihsahn and features ten spirited tracks recorded in Norway at Ihsahn’s own studio. Ihsahn has spent the last decade establishing as a talent at the forefront of extreme music, having helped refine and redefine black metal, as he did with Emperor. As a solo artist, he has been bold and fearless, and Arktis is no different; it is a yet another step that solidifies Ihsahn’s throne.
Speaking about the album, Ihsahn stated: “my focus for this album was to write within more traditional song structures and still give each song a strong individual identity” and even after hearing the album the first time through, we can confirm that he managed to do just as he proposed to. Each song really does have its own individual style. Not many artists can achieve so much diversity and when they do, it’s rare that the tracks compliment each other and fit in together smoothly. That is not the case here. At all.
Ihsahn resonates so well with so many different parts of the musical spectrum, ranging from electronica to classical to the avant-garde, and yet while pulling off his musical exploration, he still manages to maintain the metal foundation that we can associate with him as an artist. What does this mean as a result? It means that, unlike most modern artists, Ihsahn’s sound is unpredictable but still completely relatable to his audience.
Featuring riff led tracks like ‘Disassembled’, rock ‘n’ roll influences such as ‘Until I Dissolve’, and the classic progressive styles, like in ‘My Heart is Of The North’, all ten tracks manage to keep you constantly alert and engaged. It’s also worth noting that the album features special guests such as Einar Solberg of Leprous, and Matt Heafy of Trivium among various others. Additions like this help expand Ihsahn’s sound even further. The presence and vocal/guitar skill of Matt Heafy, for example, really helps bring ‘Mass Darkness’ to its full potential.
While not every song on the album is entirely significant, the album as a whole features so many moments that need relistening just out of pure musical appreciation. These moments are captivating and really show off everything positive about Ihsahn and what he is capable of. ‘Crooked Red Line’ features a jazzy saxophone part in it, for god’s sake! Ihsahn seems to be evolving his music at a rate that other modern artists are not capable to keep up with, and compositional talent such as this really deserves the exposure.
