Emperor are currently preparing to tour in celebration of the twentieth anniversary their second album, the third rate Anthems to the Welkin at Dusk. While Emperor kept on wearing armor, Anthems to the Welkin at Dusk saw Emperor simplify their trademark complex, almost symphonic Norwegian black metal sound down to two to three note speed metal influenced riffs with neo-classical wank leads in conventional verse-chorus-verse heavy metal songs to appeal to a wider, Wacken-going audience.
The music of Emperor is commonly misconceived by the mainstream metal media and certain YouTube clowns to be merely an atmospheric wall of sound or symphonic black metal orchestration engineered for superficial, surface level aesthetic appeal to an audience atypical for black metal. This is in fact not the case. In the Nightside Eclipse is just as perplexing to typical headbangers on first encounter as it was upon release in 1994. Mainstream audiences are even more flabbergasted and regard the record as a mere curiosity produced by those murderous church burners, preferring Emperor’s more rock-structured later work such as Anthems to the Welkin at Dusk, which abandoned the band’s signature riffing style and method in exchange for ones influenced by more stereotypical Norwegian B-listers such as Enslaved and Kvist. Emperor did eventually sell out, becoming technical guitar wank, rock-structured heavy metal after their rhythm guitarist Samoth and drummer Faust were imprisoned in 1994 and their songwriting influence subsequently waned. Yet In the Nightside Eclipse‘s hymns to Satan and Sauron remain as natural mutations of their metallic predecessors’ attempts to imitate horror scores and classical music’s overwhelming power of sublimity.
Ihsahn has stated that if Emperor reunited, there would be “Absolutly no point” in recording a new album as “It would be a disappointment.” He claims any new Emperor work would be similar to his masturbatory solo material. Perhaps Ihsahn should have come to this conclusion over two decades ago; Emperor’s post In the Nightside Eclipse material after Faust and Samoth went to prison consisted of merely interesting black metal riffs arranged into one-note verse chorus verse songs propelled forward mainly by soft versus hard contrasts. Ihsahn is right that creatively bankrupt guitar magazine pandering is not worth Hessians’ precious time. Listen to the original master of In the Nightside Eclipse again instead:
Article by Lance Viggiano
Metal, like nearly every form of contemporary western music, carries legacy traits from western classical music. Noting these inherited qualities and their contribution to metal’s identity is a fruitful venture worth study. Yes, some artists such as Emperor created music that may as well have been performed by an orchestra. Nevertheless there is a distinct tendency among metalheads to validate metal through this heritage. The logic behind this is eloquent and simple: Classical maintains an esteemed position and metal retains compositional/artistic characteristics of classical; therefore metal is good (insert adjective for good: High Art, Quality, etc.). This does a disservice to metal however as it forsakes the baroque for the succinct while deriving much of its power from textural aesthetics. Metal needs to be qualified and judged according to its own merits.
Both forms of music arrange motifs according to an underlying narrative. The pathos of western classical music is derived out of experiments in harmony that attempted to imitate a well ordered and intricately planned cosmos. The composer embodies the role of the One God who conceives and executes a nature in which each of its parts cooperate in accordance with divine law or in the case of music: its score and story. Metal however is all about the riff; not just its position in the score but also the way it sounds and the way it feels. Downtuning a guitar, plugging it into a bass amp, and dialing the gain knob to its upper limit are not trivial or accidental decisions. The textural component gives the music body which allows for succinct motifs to achieve significance out of relative simplicity. On the other hand, classical must take on a ”notey” characteristic to give the music weight. The roar of an ensemble is a force of its own, yet it is comparatively tame next to the bludgeoning delivered by an amplifier and a few pedals.
Classical entices the mind with intricate and ornate patterns while metal ignites the heart by delivering an unabashedly barbaric, vitriolic and brash force of will. With each occupying distinct but equally valid dimensions of the human experience – The mind and the heart, respectively – it becomes clear that using one to validate the other does a great disservice to each form of music. Unplug metal and survey its patterns next to classical and one will find that it sounds as if it was composed by intellectually immature children. Plug classical patterns into metal and one finds that the need to make tonal sacrifices to retain clarity while distilling patterns down so as to be performed by fewer instruments results in sterile powerless wank which exists without proper support.
The Romantic movement turned its gaze back to the primacy of nature from the perspective of the civilized man who took all of his habits of thought with him; retaining his clear, distinct abstract patterns and hard mental boundaries. He walks at a distance from the forest so as to keep his boots from the blemishing mud and his coat from the shearing thicket. The Romanticism of metal walks barefooted against the cold soil, barely managing to escape the weather but never the bonds of nature. His damp stone refuge is aerated by a primate musk so thick that the festering gobbets and searing tendons of his kill cannot penetrate it. The civilized man understands nature as an idea from which he is blissful detached and divinely endowed to understand while the uncivilized man understands nature as an irrational outpouring of desire against which his only freedom is attained by projecting his own will against the world. Each vantage point offers a unique view of the same landscape. From that summit the artistry of metal ought to be discussed and ultimately, loved.
Sarpanitum’s Blessed Be My Brothers was one of Death Metal Underground’s rejected albums for the Best of 2015. The album initially showed promise. The introductory track, “Komenos”, presents the audience with Sarpanitum’s combination of chromatic death metal riffs, melodic heavy metal leads, Unique Leader Records brutality, and Emperor-like use of a melotron to approximate medieval polyphony to anchor the concept album’s theme of the Crusades.
“By Virtuous Reclamation” surges forth with soaring, harmonized guitars calling for the conquest of the Holy Land continuing into an Immolation style rhythm riff. A break starts the counterpointed dissonant riffing in the Unique Leader style that variates logically enough for Pope Urban II to call for crusade against the heathen Saracens with a metalcore scream, providing a harbinger of the randomness to come. The band returns to the opening riff minus the accompanying lead. The lead’s eventual return signals the start of the Emperor melotron. A sudden slowdown for a cheesy emotional solo continues into the original riffs, climaxing into a polyphonic blend of every musical element and texture. The song barely avoids falling on its face on the way to to the finish line.
The second real song, “Truth” opens directly with Unique Leader riff salad. The Emperor worship is only to plant listeners in a Western European medieval mindset to distract them from the fact the tension built up by the dissonant riffing is never appropriately resolved. The emotional stadium rock solos are just as disconnected from the death metal as the Emperor aping. “Glorification Upon the Bones of the Sundered Dead” better glues the riffs together but still resorts to emotional, Slash-style solos to impart the triumph of the Siege of Jerusalem.
If Blessed Be My Brothers had ended there, it would have been a disparate but listenable concept album. Instead Sarpanitum use the second half to tell the Muslim side of the later Crusades through similarly flawed but less effective songs. This isn’t just a 180 degree change in perspective: the band added another of their heavy metal heroes to the blender. Ersatz Gorguts riffing plus even more masturbatory glam rock solos leads distract from the effective atmospheric and brutal elements. The songs turn even more so into senseless technical deaf metal with Emperor rendered down into pop hooks.
The drastic changes of viewpoint and influence betray the album’s semi-successful first half. The atmosphere of Western mysticality established using Emperor to approximate a polyphonic medieval choir is wrecked by the hippie drum circle interlude, “I Defy For I Am Free”. Blessed Be My Brothers is a postmodern, apologetic Frankenstein. Wikipedia “neutral point of view” metal for meek liberals is antithetical to Emperor’s classical triumph and heavy metal’s “Compassion is the vice of kings: stamp down the wretched and the weak,” virtus.
According to a source at Blabbermouth, the owners of Candlelight Records in the UK have recently sold their assets to Spinefarm Records in Finland. By doing this, they have consolidated even more label power into Universal Media Group. For now, former Candlelight members keep their previous licensing deals, and the deal has prompted the usual pieces of corporate rhetoric; what becomes of the former label’s assets is really more of a question for the roster. Spinefarm and Candlelight Records have both made indelible marks on metal history by releasing many famous metal recordings. In Spinefarm’s case, this includes formative works by Sentenced and Beherit, while Candlelight brought out Emperor’s studio work, as well as the debuts of Havohej and Opeth. Both went on to even more commercially successful artists.
Raven Music Editions is a relatively new company that sells sheet music transcriptions of various ‘alternative’ musics, including black metal. Recently, they’ve published a transcription of In The Nightside Eclipse, Emperor’s classic debut whose quality and notoriety should require no introduction. While the rest of their catalog is fairly limited at this point (consisting of two non-metal albums by Ulver), supporting the company by purchasing these transcriptions at their website may allow them to transcribe more music. Given how much you can learn about a work of music from reading it and analyzing it, it’s my hope that this company is able to continue their work. I’d also like to hear from anyone who does end up purchasing these transcriptions, since the very act of putting music to notation involves some interpretation and opinions are understandably going to vary on how Raven handles that.
Along with a planned review for the upcoming week, Ihsahn has made it back onto my list of “musicians who clearly exist” with the upcoming release of Arktis. It is set for a March 4th release and will be Ihsahn’s 6th full studio length. If previous press releases and media praiseworshipspeak is to be believed (I’m looking at Blabbermouth here), Arktis will somehow be both more traditionally structured than Ihsahn’s previous solo albums, which tend to already employ a lot of pop song structures, and also somehow pushing “…boundaries and preconceived sounds typically assigned to heavy music”. That’s either a tall order or a marketing department ignoring what the artist says to revel in their own promotional efforts.
After two and a half years of preparation, Blood Music is compiling a huge and particularly expensive box set of everything Emperor officially released, and then some. For 700 Euros (currently 744.52 USD or 492.38 pounds sterling), you can get a swathe of material released between 1992 and 2009 – from the band’s earliest demos, to their studio albums, to the occasional post-dissolution live performance document and so on. Now, this is obviously a major financial investment; the people at Blood Music claim it’s due to the cost of press vinyl and creating the lavish packaging. Unless you’re a complete and utter Emperor die hard, it’s a tough sell, and it suffers from the typical box set pitfall of including later and less accomplished works in addition to In The Nightside Eclipse. Blood Music would do well to renege on their promise not to publish albums separately in this form, at least if they want to get in on the ambitious “One Emperor Album Per Child” initiative we could start if we had the funding and global reach we seek.
Since ancient times man has looked into both himself and nature around him as a portal into dimensions our species’ abilities are not adequately or readily prepared to perceive let alone understand. This is why and the sciences developed their theory and instruments which became increasingly specialized and compartmentalized, to the point that the ulterior workings of, for instance, chemistry and physics are not even truly understood by any single person but that have been recorded and detailed so that theories can be devised to model them. This is both a weapon for more precise understanding and a blindfold that prevents us from seeing the big picture. The ancient occult sciences attempted something contrary to this, which was to grasp at the phenomenon as a whole, not by measuring bits here and there, isolating them and attempting to harness them for mundane tasks, but rather seeing how everything interacted and describing it through metaphor and accepting that knowledge concerning reality cannot be taught or communicated: the path can only be hinted at but it is for each person to take.
|“We do not know it because we are fooling away our time with outward and perishing things, and are asleep in regard to that which is real within ourselves.”|
Music can be used as a way to contemplation, as a window of what is in front and within us. This is a way towards the self, towards one’s nature, the species’ nature, and our place in the planet as life springing from it. When done correctly, it is not an escape from “reality” as materialists would have it, but rather a search for the experience and understanding of actual reality through human eyes. This includes an accepting of the limitations we can never truly overcome and yet trying to capture visions and feelings of what the universe beyond us is like. Music can convey this by acting as a conduct, taking the mind to a certain state. This is much more than the “setting of a mood” of pleasure-oriented music, and requires an active engagement by the listener, a locking in the senses, a voluntary stepping-through to the unreachable umbra of that-which-is. This is not about salvation or reaching out for a different world, it is a discovery of the cosmos as it is in reality.
|“Could one that’s damned stand in high Heaven, even there He’d feel within himself all Hell and Hell’s despair.”|
Underground metal and its related genres (dark ambient, for instance) as a mystical experience may lead us through a variety of paths, up to mirrors, dead-ends and upside-down positions which may seem incomprehensible at first but whose value is appreciated in retrospect as a lesson. At the end of the day, no vision reflects reality, we can only dip into experiences that transmit flashes of this or that aspect, but nothing that encompasses everything which is far beyond our capabilities. It is like trying to capture the infinite in one’s mind, or simply trying to imagine not being human.
|“To reach something good it is very useful to have gone astray, and thus acquire experience.”|
The following are a few album recommendations that the author feels are strong and sure passageways from whence grand sights a piercing eye may descry. Though each of these may follow a slightly different path, they all shine light into particular corridors and avenues by virtue of different methodologies and philosophies. Each kind of experience is in the eye of the beholder and is ever partial and incomplete, but the truth behind all of them is one and whole.
|Emperor- In the Nightside Eclipse
An album about the astral origin of our self, a constant reference
to the nightsky, the dark forest and the darkest confines of
the individual’s mind and a connection to the source.
|Burzum – Sôl austan, Mâni vestan
The day, the movement of the major celestial bodies seen
through the eyes of a druid. This album is the trickling of life,
the flow of energies from one state into the next.
|Endvra – Black Eden
This is introspection and the exploration of the self’s demons in
a sincere way. A complete closing off from the outside, it is
best experienced alone and in complete darkness. This is
a facing of everything within oneself through oneself.
|Mütiilation – Remains of A Ruined, Dead, Cursed Soul
Music for ruins, cemeteries and places in which dark memories
are still alive, this is the universe through deep pain. As with the
first item in this list, it hints at Black Magic, into illicit and
probably self-destructive channeling of negative energies.