Enslaved - Below the Lights

An Autothrall classic. Originally published here.

Cover art by Truls Espedal

I feel that to endear an album with the term 'Enlightenment' is often to reek of some attempt at pretentious misdirection, and yet there is no other choice I could use to so accurately describe Enslaved's 7th full-player, Below the Lights. From the rune inscribed, unforgettable and glum cover image to the 46 minutes of near impregnable aural genius on parade, this is a band reaching a new vista of potential and simultaneously airbrushing the Norwegians' previous excursions into experimental, progressive territories into a portrait for the ages. Up to its release, I admit to having viewed Enslaved as 'that band who released the stunning Frost and then a bunch of other albums which were gradually scaling in range and quality. But thanks to Below the Lights, my favorite album of 2003, they have become one of the acts I most closely pay attention to, eagerly anticipating each new studio effort and never having been let down since.

Photo © Per Ole Hagen, Artist Pictures Blog, All rights reserved.

This is pretty much a template for how to incorporate varied stylistic influence into a cohesive fusion and vision so seamlessly gelled that I simply cannot imagine it ever fragmented into its scattered roots. Progressive rock of the 70s and 80s, psychedelic overtones, historical and folk cognizance, 'wall of sound' or 'shoegazing' guitar passages, and lying deep at its heart, the same polished and potent black metal rasping and riffing the band introduced in the early 90s. It's not Enslaved's first dance with self-production and engineering, as they had been locked in the DIY mentality for several prior albums, but Below the Lights was clearly the very best the band had managed to its day. An earthen authenticity enriches the dynamic guitars, and much of the disc feels as if it could translate directly into the live setting. And yet, there is nothing 'pop' about it. Just a cloying sadness and darkness to the album worthy of those underground recordings that continue to thrill the core, devoted black metal audience.

The use of subtle orchestration and ambiance is but one of many weapons in play here, and a solemn synthesizer piece is used to inaugurate the opener, "As Fire Swept Clean the Earth". Immediately one can glean a sense for the warmer, jazzier textures being incorporated to the guitar chords, and the swerving complexity of the bass, and yet there are brazen tremolo lines and Grutle rasps so isolated and defiant that they could condense the clouds to darken the sky and induce a steady, cold precipitation. Cleaner vocals and guitars are threaded through the verses, while warbling whammy effects and sprinkles of sporadic lead melodies create an even denser palette of experience. But, as excellent as this piece is, it can't even begin to cover the myriad pleasures that await the listener throughout the album's duration...

Photo © Per Ole Hagen, Artist Pictures Blog, All rights reserved.

I can only point out a few of the highlights, otherwise this would turn into a 10,000 propaganda polemic. "Queen of Night" wins enormous marks for its transition from eerie, Jethro Tull flutes and acoustics to leaden, winding prog-metal grooves, bottom feeding bass ruptures and then it even explodes into this frenetic speed/thrashing sequence around the 4 minute mark. "Ridicula Swarm" begins with another engrossing, layered synthesizer sequence that transforms into a slew of violent riffing redolent of the band's earlier albums, and back again. "The Crossing" opens with a tranquil sensibility, tiny organs in the distance beyond its acoustics; but then flattens you with a massive wall of resilient electric melodies over an almost tribal foundation, Dirge Rep yet again proving that he's more than just a blaster on his swan song (with this band).

In fact, I think this is the best single album that guy has ever performed on, and not just for his technical ability, but contribution to the lyrics and writing. He even joins the band's internal choir for the intro to "Havenless", which is as swaggering, manly and memorable as you're going to get from anything even tangentially related to the Viking/folk metal scene. The musicianship of all parties involved is never less than stunning, but not just for its technical merits, but the impact of each individual sound. Like the kick drum and bass guitar in "A Darker Place" which create an uncanny, pounding sensation, or the constant contrast of Grutle's grisly bark with the cleaner, more refined melodies that surround it. Or the seemingly random electronic tangents fused into various tracks, which once again reflect the band's proggish influences. It should also be noted that the new guitarist here, Ice Dale is perhaps the perfect match for Ivar's playing.

Photo © Per Ole Hagen, Artist Pictures Blog, All rights reserved.

Overall, Below the Lights represents a balance of brilliant ideas and meticulous execution, which I would deem utterly flawless were it not for the final track ("A Darker Place") slightly lagging behind its forebears in eloquence and compulsion. And by slightly, I mean that it's still superior to most of the other tracks in the band's backlog, it just feels like it's marginally shier in ideas and distinction than those leading up to it. But otherwise, this is mandatory material, less jarringly developed than Mardraum and more thematically consistent than Monumension. It looks good, it sounds superb, and it even reads wonderfully! Simple, searing imagery rooted in folklore is well integrated to the emotional shifts in the music. Once more, Enslaved proves that growth need not come at the expense of credibility, and this record remains a hallmark for 'progressive black metal' or whatever sonic niche you deem to place it.

[Go to the post to view the Bandcamp player]

Note: This is on the Osmose Productions Bandcamp, so the entire album is for sale, but you can only stream two songs from it...

Enslaved - Frost

By Andy Osborn. Their second full-length, Frost is the album that solidified Enslaved’s place in the black metal grimoire, launching what continues to be a decades-long career as one of the genre’s most interesting and varied acts.

By Andy Osborn.


Their second full-length, Frost is the album that solidified Enslaved’s place in the black metal grimoire, launching what continues to be a decades-long career as one of the genre’s most interesting and varied acts. Though guitarist Ivar Bjørnson was only 17-years-old, his command of desiccated riffage was already on par with his fellow infamous countrymen, while 20-year-old Grutle Kjellson was shrieking like a banshee permeated with the stuff of the album’s title.

Now considered a classic of Norwegian Black Metal, the young band was already setting themselves apart from the herd by approaching the style not from the satanic madness that was already a fad, but from a perspective worthy of the heritage and old gods upon which the album is based. The Norse-themed collection gives hints to the band’s progressive tendencies as they dabble with a mix of electronics, acoustic guitar overlays and song structures light years ahead of the typical death-obsessed buzzsaw picking played by their peers. It’s at the same time wholly black metal and wholly something else; almost 20 years later the album still has a captivatingly original sound. The almost non-existent bass and treble-obsessed guitars are a far cry from the heavily polished sheen Enslaved’s production will later take, but the flat sounds conjure up a heart-melting nostalgia.

While the album is as interesting and dynamic as you would expect from the band, it’s not without its missteps. The Vikings get a bit too close to Asgard on “Yggdrasil,” a bombastic war chant that goes nowhere and accomplishes little. And it’s clear the band is still afraid to fully showcase their unique voice, with a few songs playing standard bm fare and showing a restraint in their mead-fueled expression.

From the Mortal Kombat-esque bridge on “Fenris” to the furious tremolo assault on “Wotan,” Frost is a perfect foreshadow to the band’s long and varied catalog. The still-youngsters are only toying with the arsenal that they are yet to unleash upon the world, but they do it with such enjoyment and execution that the album stands on its own chilly legs, still revealing itself almost two decades later as a pinnacle of black metal experimentation.

Enslaved - Monumension

Enslaved's Monumension from 2001 marked an important step in their transition from a straight black metal band to the King Crimson of Viking Metal. On Monumension they maintain a base of thrashy black metal, but contrasts it with Pink Floyd-esque psychedelic rock. As befits the progressive tendencies none of the songs feel alike, but despite that the album flows well; moving from straight black (and death) to the aforementioned psychedelic parts with ease. And tossing in elements of sludge and doom, and even a couple of blasted sequences along the way. Keyboards are used well; they add atmosphere and progressive touches but never threaten to overpower the songs. The production has an organic feel; everything sounds a little rough around the edges, creating an interesting contrast against the progressive intricacies. Monumension is an album that feels alive. Check out the reviews from AllMusic and From the Dust Returned.

[Go to the post to view the Bandcamp player]