Enslaved "Heimdal" (2023)

Although finding myself not particularly in the mood for Metal as of late, Enslaved's track record of recent years had me curious at the least. No longer the same cult Black Metal band born among the Norwegian chaos of the 90s, they have continued to offer intrigue and magic as matured musicians. The once teenage founding friends Kjellson and Bjørnson are still going strong, now on their sixteenth full length!

Heimdal offers up a curios contrast of harsh excursions that drift, pivot and meander into uplifting spells, often spearheaded by its symphonic instruments, clean vocals and brighter compositions. Once accustom with its dances, the bleak distortion tones and gruff throaty howls that accompany bite less with knowledge of their destination.

Congelia possesses my favorite enchantment, marching forth, relentlessly. Stiff, ugly, grim riffs dance against hypnotic palm muted chugging. A harsh drive that is suddenly flipped, simply entrancing upon the arrival of gleaming keys. Its spacey melody echos with subtle psychedelic ping pong fade, transforming the song from its bestial grind.

The following Forest Dweller takes a different approach, starting with the lull of its soft atmospheric folk. Conjuring visions of a harder life, in endless wilderness, among ancient spiritualists. Suddenly, the music whips up into a frenzy of hasty roaring aggression, plundering us into a whirl of riffs, reminiscing classic Black Metal ideals.

As the album grows, more of its Progressive and melodic approaches get pinned against their extreme unruly origins, a dance across the fire, flirting with the prospect of getting burn. The variety is gratifying. A fascinating fluid chemistry among obvious contrasts. The Eternal Sea is another keen example. In one moment its sea bearing temperament of adventure, uplifting and glory, propelled by heathen singing ascends. In the next, its as if the world has been set ablaze by demonic forces of old. Heimdal is a worthy listen, these seasoned musicians continue to provide luminous music, managing to say a lot among sounds tired in the hands of others.

Rating: 7/10

Enslaved "E" (2017)

Eight lengthy tracks clocking in at an hour make up this indulgent journey through abysmal rain and thunderous storms in a climate safe from harm. We swing from the calms of gentle, luscious melodies sung from soft synths and glossy pianos as they peak through gristly rock, sturdy distortion guitars in stretches that swell into grim plummets and measured fiery onslaughts of darkness. With gleam and triumph shrouded in ancient mystery the tone is set, a path of heathen spirituality in the roots of mother nature emanates in calmer passageways. Viking choral chants occasionally greet us as we wander through mystic terrain on an epic, inspired journey.

 At this point in their career Enslaved have little to prove, fourteen albums in with a solid track record the band are freed to home in on their craft and forge songs that achieve their inspiration with little to fault. The maturity and expanded pallet lets the core sound flourish with touches of influence that spread as far as Jazz with a saxophone solo on "Hindsight" fitting so snugly into the song it barely makes itself known as an uncommon instrument but rather a perfect touch to illuminate the music. Many Post-Metal guitar sounds emerge with flourishes of shimmering Shoe-gazing leads and even Sludge in scattered guitar grooves that move in menacing lugs of burly force, often accompanied by the harsh scream of Kjellson who doesn't charm with these strained and sterile screams.

These songs are progressive, expansive, they twist and turn, evolving as time passes, making for a wonderful listening experience that's cinematic. Enriched by the layering of soft synths and occasional organs below the guitars, the flavor and aesthetic is sweetened but this chemistry is lost when the album is swept into the stormy dark. Still holding onto their roots, the music often strips itself to the raw components, "Djupet" being a song comprised entirely between the guitars and drums. It makes a little more sense when these Black Metal moments emerge in the sways of wandering songs but shows itself to hold back an otherwise far more intelligent, spell bounding chemistry that is at its best in its denser, melodic compositions.

Rating: 7/10

Enslaved "In Times" (2015)

Norwegian Black Metalers "Enslaved" have been around since the formation days of the rebellious anti-christian music scene. Forming in 91, they dropped their debut "Frost" a few years later in 94, at the peak of controversy and attention the scene would receive given the murders and church arson events the media focused on. Despite being their from the beginning Enslaved never rouse to the peak status of their counterparts, but have remained active through the years. Their debut "Frost" often hailed as a classic, a cold icy record that to my ears doesn't quite have a lasting presence like "De Mysteriis Dom Sathanas" has over me. Given that the band evolved over time, experimenting with melodic elements, warmer guitar tones and varied approaches to riffs I was fairly excited for this record which has not disappointed.

In Times is a modern approach, out with the cold frosty distortions and in with warm, soft tonal guitars that play to both the heavier, darker side lead by aggressive drums and snarly screams and the lush melodic sound lead by soft, humbling clean vocals and elevated symphonic sounds that often reside in the backdrop, melding with the guitars for a rounded, appeasing tone. One thing thats very distinct of the songs of this record is how they transition between the two, at times like a light switch, at others with interludes and progressions, but for the most part the songs revolve around the two vocal forms taking charge and leading the songs through bright and dark passages.

The variation across the six tracks creates an engaging atmosphere of wonder, always anticipating the next "moment" as each song unleashes epics of soaring riffage, symphonic bliss and tuneful leads, "Nauthir Bleeding" offering a diverse progression from acoustic guitars and humbling, softly sung melodies that lead into the album darkest, soaring moment before blazing into wild, free flowing guitar solos more reminiscent of Thrash and Heavy Metal than Black. The record sounds gorgeous, lush modern production with the drums a little quieter than usual, giving them a muted roll in the songs. The strings and symphonics mixed to perfection, being able to meld with the guitar and break away to direct the music at times, the bass is also warm, upbeat and present in the forefront as it compliments the guitar with plodding rhythms and a base octave a step up from the lows so commonly explored. "In Times" flows like a river, from one to the next and without filler its fifty minutes of modern Progressive Black that doesn't falter.

Favorite Songs: Building With Fire, Nauthir Bleeding

Rating: 6/10