Ihsahn - Eremita - Review

Ihsahn - Eremita (6/18/2012)

My story with Ihsahn begins around mid 2001, where I was listening to Into Nightside Eclipse by Emperor. It was a cacophonous rattle which muddled around inside my skull. It echoed in a place I wasn't prepared for, and that took some serious getting used to. The extremes used in that record, coincided with my taking a curious glance at Emperors body of work.

From recollection, Emperor's early material is hard to decipher, let alone pin point through all uber balls to wall guitar tone pummeling me. Songs like Wrath Of the Tyrant strafe across my (at that time) limited scope of Black Metal.

The album that clicked with me was Anthems To The Welkin At Dusk. I begin to take serious notice at the craftsmanship of that record. Its prickly, and shows no mercy in what it sets out to accomplish. When I am having a shitty day, Anthems brings joy. Whereas IX Equilibrium, and Prometheus didn't grab me like Anthems did. Ihsahn's use of (in my opinion) his staccato waltzy rhythm is an effortlessly committed to spirit. Since this was my first taste of Black Metal, I was learning its cadence, and repetition.

Once I started gaining insight, and what to listen for, it became clearer that I was a bit overzealousness in my outspoken assessment of Emperor. I feel I've grown accustomed to that sound, but favor Anthems over the other albums. In that regard I knew what to find when it came to the inflection, and expression from various bands. It took time, but I think I got the gist of the style. Whereas, I've followed quite closely Ihsahn's work, and I've never looked back since.

Eremita overall is jaggedly sharp, and careens off and splinters in various directions. Though it does not wain very far from the structure, there is melody, and disjointed compositions. What was familiar with The Adversary, angL, and After (a trilogy) are fragments of distant memory. Eremita takes the listener into new areas, yet are concertedly familiar. It doesn't stray too far from the brute force that Ihsahn is known for, and paints with his musicians brush.

Arrival, the beginning track pushes me in a a place I've not really been familiar with. The rhythmic approach, and focus is distinctly Ihsahn,  and yet I'm getting a very clear hint that change is in store. The thing that I'm figuring with Eremita is that it wasn't made to feel like it's part of you, in fact it feels traveled, introspective, and jumbled in a row of ravaging thistles. To these seasoned ears, it was like having a face staring right back, through a distorted ether. Its jarring to say the least.

The (Saxophone) which made its entry in After, is prominent with Eremita. I think Ihsahn has decided upon morphing a bit of what was expected, and changed the script a tad for his personal musical evolution. He's carved out a very peculiar album, and underneath there is a lot going on.

Guests like Devin Townsend on Introspection, Jeff Loomis,  Jorgen Munkeby (Saxophone), Tobias Ornes Anderson and Einar Solberg of Leprous, and Ihsahn's wife Heidi Tveitan all contribute to a varied album. I think, and feel Ihsahn fuels what is missing in a genre mired in its stagnated adversity, and I think ultimately having a way to transform, and evolve are hallmarks to the craft.

Though the challenge was to make something tangible, and inventive, Eremita shines were few can focus on any specific fret, or area. If the songs themselves don't elicit a response from me, then what is the point? Music should evoke a response, provide a jumping off point for discussion, Eremita is a record that makes for great conversation. Plus, I continually uncover more layers on repeated listens!

Thanks for reading.

B.