Anthems to the Welkin at Dusk (CD - 1997)

Emperor (Black Metal): Ihsahn (vocals, guitar, synthesizer, bass guitar); Samoth (guitar); Trym (drums, percussion).

Emperor needs little introduction. As one of the leading exponents of the extremely ill-reputed Norwegian black metal scene (known for true-life demonic acts ranging from church burning to outright murder), the group's fearsome reputation -- on and off the stage -- precedes them. And with their third full album, IX Equilibrium, the group once again shows absolutely no mercy for lesser mortals by delivering another sonic onslaught of nearly impenetrable proportions. Drummer Trym doesn't so much keep time as pummel his kit incessantly, while guitarists Ihsahn and Samoth contribute an equally oppressive wall of sound laced with keyboard textures so demonic they were seemingly concocted by the great horned one himself. The third track, "An Elegy of Icarus," is the first to scale back the violence during its heavily symphonic intro, but the furious pace resumes immediately thereafter, never to slacken again, albeit briefly on the nearly melodic "The Warriors of Modern Death." Far from a masterpiece, but hardly a stinker either, IX Equilibrium falls quite short of the group's earlier albums through sheer lack of diversity, and will prove indigestible to all but the most committed black metal fans. But that was most certainly Emperor's goal in the first place. ~ Eduardo Rivadavia

Whereas Emperor's debut poured sorrow from every measure, Anthems to the Welkin at Dusk takes a more regal stance by adding a classical influence to the keyboard lines (the album was recorded in the Memorial Hall of Grieg). Not only is the music more complex, it's also a bit more varied and accessible; the vocals don't rely exclusively on death metal's throaty growling and sometimes match the band's scattered passages of melodicism. Less sorrowful than In the Nightside Eclipse, Emperor's bleak outlook is nonetheless intact. This is an album by a band fully intent on realizing its creative potential, displaying no intention of compromise while simultaneously raising the stakes for a genre most fans were starting to think had dried up. The Reverence EP, which preceded the album, is included here in its entirety, featuring a CD-ROM video and an orchestral version of Eclipse's "Inno a Satana." ~ Jeremy Ulrey & Steve Huey minimize