Ihsahn is often most known for his role as the former guitarist and songwriter for Black Metal legends Emperor, but over the past 18 years, he’s gone on to a productive and fascinating solo career. As we await the release of his latest self-titled record, here’s a primer to the always-changing, never-boring Ihsahn.
From his second album, Angl finds Ihsahn still working within the general framework of Symphonic Black Metal that he helped pioneer with Emperor: the middle section starting at 2:20 could be lifted right out of Prometheus. However, you can hear the progressive elements starting to take on a larger role. I love the keyboard riff in this track, and the solo in the outro is absolutely sublime.
On the other end of the spectrum, we have the opening track from the 2018’s brilliant Ámr. The keyboards at the start are far from the symphonic swells of Angl: this is sequencing straight out of Krautrock. Tobias Ørnes Andersen, formerly of SHINING and Leprous, lays down a relentless blast beat that doesn’t let up until the midsection. It’s almost panic-inducing, much like a piece from Glenn Branca.
Here’s another jolting switch in gears to Mass Darkness, which begins with a guitar lick that could’ve been lifted straight out of the 80’s. The beginning of the track is like a coiled snake, slowly preparing itself to strike in the chorus. And what a chorus it is: the multi-tracked clean backing vocals singing “Give in!” get me every single time. Add in one of the tastiest solos this side of Yngwie himself and you’ve got the recipe for a certified banger. This is my favorite Ihsahn album for a reason, and this is exhibit A.
This is peak prog Ihsahn at his jazz-influenced best, and a world away from his symphonic black metal past. This is the first track on this list that really showcases his underrated clean singing, and Andersen really shows off his prog chops. Keep an ear open for the heavy metal “uh!” to show you that he’s still keeping it real.
Ihsahn released a pair of EPs in 2020 in place of a full album, and this track features from the first of them. It’s black metal, but more in the vain of late-era Satyricon or Arcturus, with some added black metal sax for good measure. The keyboards are a little cheesy-sounding, but the solo in the mid-section makes it all worthwhile.
Ihsahn has often said that there isn’t a point in recording with Emperor again, because the music he’d write for them is the same as it’d be for his own work. His first album post-Emperor is case-in-point, as it feels very much like a natural progression from Prometheus. There’s still plenty of progressive passages that very much anticipate some of the directions he would head. Listen closely for the Tom G. Warrior-inspired “Hey!” and “Oooh!”
Let me paraphrase a classic scene from The Empire Strikes Back to introduce this track:
You: “I’m not afraid of saxophones in my black metal.”
Me: “You will be… you WILL be.”
Enter Jørgen Munkeby of SHINING on saxophone to test every shred of your belief that black metal saxophones are for you. This is the final boss of black metal sax, and I’m here for it, but it’s a test indeed. After is an album that is difficult for me, but Eric loves it, so it definitely has its fans.
Just as you’ve accepted that Ihsahn is as br00tal as they come, allow me to introduce you to Top 40 Ihsahn. This is the power ballad that’ll get your square friends hooked: all clean singing, a chorus that will have you putting your lighter in the air, and a killer solo that would make George Lynch nod his head in approval. I freaking love it.
After a slow, somber intro, Ihsahn does a Voivod and veers off into angular sci-fi thrash territory that wouldn’t sound too out-of-place on something like Target Earth. Of course, it wouldn’t be an Ihsahn track if I didn’t gush about the tasty solo that drops around the 3:30 mark. Piggy himself would certainly approve of the whole affair.
Speaking of Dokken, my all-time favorite Ihsahn track begins with a guitar intro that stabs right into my middle-school, mullet-headed heart. It’s fully accompanied by a rhythm riff that can only be appropriately described as PHAT. Top it off with a solo at the 3:48 mark that is as good as they come, followed by an arena rock bridge to bring us to the outro. If you don’t have this stuck in your head for days after, then make an appointment with your cardiologist straight away to have that metal heart of yours checked.
Firesideometer editor-in-chief, Eric Gmutza here, interrupting Brian's regularly-scheduled programming to insist that 'Called By The Fire' be included in this mix tape. If there's a hookier chorus in Ihsahn's oevure, I haven't heard it. And man—just dig that King Diamond-level falsetto! You're welcome.
Hopefully you love Ihsahn at his darkest, because this track starts off with blast beats and evil keyboards. Contrast that with the chorus, which is one of the most infectious that you’ll ever hear on an Ihsahn record. I’m going to be accused of doing a Chris Coleman-Peers by saying, “This solo is the best ever!” for every track (cheers mate!), but this really is one of the best. I defy you to get to the ending, where Ihsahn sings, “You still enter night with grace!” and not have the hairs on your neck stand up. The perfect ending to one of his best albums, and an equally perfect cap to this list.
And there you have it: a representative track from each of Ihsahn’s studio albums and two EPs. Pick a style here that you like and then go seek out that album for similar stuff. I’ll be back after February 16 to write up his self-titled album!