Emperor ceased to exist, but Ihsahn continued to pursue that trajectory. While musically more ambitious, his work is still firmly grounded in that very bedrock of symphonic black metal. Arktis, like his other records, explore diverse genres/themes and prods a range of emotions.
Staying clear of progressive metal clichés, Ihsahn crafts splendidly heavy and sublime melodies. Even the fiercely romantic “My heart is of the north” involves thick riffs, and a jarring keyboard reminiscent of 70s Emerson Lake and Palmer. Making that brief mellow moment — “And should my spirit soften like snow in early spring, or waver in the sultry haze, that soothing summers brings“ — quite exceptional.
Fascinating how whispering vocals – “Static, Dogmatic, Death cult, Fanatic” – can be this threatening with electronica. Transition into some grinding industrial metal — “I’d rather live a life in sin. And take the devil’s fall” — cannot be more elegant. With a measure of painfully moving vocals – “What kind of promises could justify the sacrifice you make? “ – Ihsahn paints a vivid landscape. But eventually ends with his signature, absolutely devoid of all sentiments, grating vocals.
Exhibiting those exquisite symphonic prog aesthetics, like 70s Genesis or Gentle Giant, Arktis is poignant, layered, and at times emotionally distressing – “Longing for the hopeless. Losing all to own the end”.
Melancholic solos when accompanied by keyboards — layered over measured strumming and painful clean vocals – “You chose a life at war. Now choose a worthy enemy. You know, it doesn’t always have to be yourself” – blazes a grim road. Musically and lyrically, Ihsahn teleports the listener straight into vaults of emotional desolation.
In spite of prominent extreme metal elements, long time Rush listeners should be immediately taken with that very familiar background keyboards in ‘Until I Too Dissolve’. But we are still skimming the surface, influences are multitude and diverse. Ihsahn traverses a progressive metal territory decked with stunning jazz to bleak black metal. Intense and sublime, Arktis, in Ihsahn’s own lyrical terms is a masterful “conjurer of sorrow”.
By Jonas Rogowski (Own work) [CC BY-SA 4.0], via Wikimedia Commons
Released in November 1968, the White Album did a Pollock on all the principles of freedom the Beatles had been shaping since 1965’s Rubber Soul kicked off their long, disciplined freakout, and splattered the canvas with every elementary Beatle colour: rock and roll, British music hall, folk-and-pop, country, novelty songs, in no apparent order or thematic unfolding. In its elemental, revelatory mess and as a rock double album it bears resemblance to 
Progarchy 
