E - Enslaved
- Release date:
- October 13, 2017
- Nuclear Blast
Enslaved unleashes the reins on the album, which are stuffed with skewed edges and surprising details
E for experimental
Enslaved is a band that stands strong in the Norwegian scene. They have from the beginning cemented itself as a band that does what it suits them, and it has never been clearer than on the E, which offers everything from a homage to the classic black metal to the plural prog. And proggen itself has become more and more dominant in the department of black metallen, who are not afraid to try something new. We as prog make its first appearance with Ihsahn last year, where it went up in a higher unity, in Satyricon quite recently – albeit not so much in focus – and now with a flagship of a band.
And how in the world will pass you the musical rubikskube, who is E? First and foremost, it should be stressed that their more pronounced proggede sound with the warranty due to their new man on the keyboard. It exudes the gentle and atmospheric 70's prog, and the instrument bears a large part of the responsibility for the term, which will be completed by the both the gentle clean vocals and Grutles ferocious growl. The more folk-y element of their music is replaced by an irresistible hodgepodge of impressions, all of which falls perfectly in the notch. Along the way in the process of listening and writing and listening and right and listen and listen and listen I have found a lot of chunks, which all together goes up in a higher unity, unified into one awesome plate. In fact, every single number is more or less his own life, but manages still to emerge as part of a larger plan. "Storm Person" is a grand and epic work, which, with its many tempo and typeskift reminiscent of Insomniums Winter's Gate, just boiled down to 11 minutes – naturally with a keyboard, which breaks the illusion of a vikingemetalcoverband.
In fact, there is not much viking/folk about this album, and black metallen dominates only for a glimpse, as, for example, on the "River's Mouth", which opens with an obscure riff inspired by a, for any unknown Greek black metal. But it offers even in passages reminiscent of Fear Factory – something that can be attributed to a vowel, which is very reminiscent of Burton C. Bells. It is hard not to resist going through the entire album, cutting for cutting, for each song is almost a separate review worthy. "Sacred Horse" is riveting, and the Ulver-esque vocals paired with the fast-paced melodic black metal and the ubiquitous organ mark it here as the highlight of an album that almost does not consist of anything other than highlights. You can look forward to the long sequence toward the end of the number. It works as a build up to a hefty game of galloping black that slowly increases in pace and intensity, before it ends abruptly and leaves one with bated breath. The rest of the plate is a demonstration in how you can be inspired without to fake, and the fact they both have a little atmospheric Callisto-avantgardelyd, complete with psycho-saxophone, they channel the corner, the Ghost is the king of the, and then without blinking sounds more like Opeth than Opeth does. It tells me, that the Enslaved as artists have created something unique.
E for once and for
With E , there is no doubt, if there has been it ever, that the Enslaved are skilled. They are skilled to write, compose, play, and expand the listeners ' musical horizons. They go their own ways, and I follow them like, regardless of what direction and how far they might reach. This album shows a band that is at the top of their career, and it cements their status as a band, there is no way to get around. I will not hesitate to claim that Email is their best album to date.
>> Check the songs and lyrics here