< Famed Judas Priest singer and gay fashion icon Rob Halford has been recently vocal about starting a black metal supergroup. A longtime fan of the genre, Halford has named Ihsahn of Emperor and Nergal of Behmoth as potential collaborators, with the latter jumping at the opportunity to use his cartoon-black-metal brand to pocket even more mainstream metal dollars. Unfortunately for Halford and anyone dumb enough to be duped into thinking something like this will be good, Nergal will not have much to offer in terms of a black metal supergroup as he has not played black metal since 1994's Sventevith despite masquerading around in corpse paint whenever it’s time to roll out the red carpet.
The most technically and musically gifted band of the Norwegian black metal scene, the legendary Emperor are also the most well known outside of the documentary-level engagement that plagues most who know of Burzum and Mayhem. Formed in the small rural town of Telemark Norway as a side project to a soon-forgotten death metal band, the group overcame the imprisonment of 75% of it’s lineup to deliver the most grandiose album of early 90s black metal. Though Emperor’s career was far from perfect, it made a profound impact on the young genre and ultimately proved it’s limitless developmental possibility. (more…)
Ihsahn is recording his upcoming solo album right now in Norway according to Blabbermouth. Furthermore Ihsahn believes that black metal is not a specific type of heavy metal music but rather a mind set and that the random progressive rock and jazzy instrumental masturbation Ihsahn performs now is still actually “black metal” despite not even being metal music to begin with, yet alone black metal.
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.
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.