Enslaved’s inspiration is a testament to artistry that never wanes; these Norwegian adepts have wreathed numerous styles, drawing their muse from Norse mythology and old legends. This diverse sound maintains a formula of heavy progressive riffs that hark back to progressive and psychedelic rock, similar to bands such as Opeth and Amorphis.

The new album captures the might of icy black metal riffs with some of their most diverse Viking and progressive instrumental work. The band’s lineup includes Arve Isdal (lead guitar, backing vocals), Håkon Vinje (keyboards, backing vocals), and Iver Sandøy (drums).

The dual guitars deliver pummeling torrents of straightforward black metal riffing, and keyboards provide a backdrop of captivating soundscapes. After the short intro “Non-Being”, they show how they can expand their sonic repertoire, bringing firm compositions and creative instrumentation in the following track “I Am Ice”, featuring Johan Sara JR. The new album reminds us that Enslaved has not discarded its aggression; instead, their musical landscapes are boosted by powerful dynamics.

Fluid guitar riffs build into walls of groovy bass and soaring vocals, offering an immense range from Grutle Kjellson. The keyboards are given ample space to shine, booming bass guitar and twisted guitar textures ebb and flow over charismatic, charged vocals and haunting guitar lines, emphasizing the rhythm section in “Solar Will”. Enslaved has always focused on diverse songwriting; their mid-era albums like “RIITIIR“, “In Times” and “E” defined their trademark.

The tracks fuse icy rawness with epic guitar arrangements, and the remarkable songwriting is cohesive on each album. The songwriting exceeds that of modern progressive metal bands. The organic composition reveals the musical approach that distinguishes the modern Enslaved sound. Mesmerizingly captivating and always refreshing, the lead guitar offshoots, thundering bass, and pounding drums are evident even at slower tempos. The diversity of the progressive black metal sound explores new arias in modern metal, offering hefty lead guitars.

The guitar section on tracks like “Mountain” would appeal to post-rock fans and highlight the musical virtuosity. The Viking metal elements are uniquely emphasized throughout each track. Shimmering synth waves and slow echoes fading in and out at the beginning of “Spirit Helper” convey a profound mystical experience. Elements like slow pounding drums and ethereal guitar textures ornament the musical clarity, juxtaposing the shamanic rituals. However, the track featuring Kevin Kicking Woman sets a spiritual experience; the guitars and bass exhibit moments of up-tempo rock.

The symphonic crescendo at the beginning of “Parting” offers dreamy soundscapes before heavy guitar riffs kick in; clean vocals add another dimension before the song shifts into a grim up-tempo section. Booming bass guitar provides a dynamic, driving force through the atmospherically loaded synth, and fantastic guitar work blends melody and catchiness. These creative elements on each track are noteworthy for their complexity and provide well-balanced song structures.

Enslaved steps up its creative prowess and dexterity in musical cohesion and compositional framework to create timeless moments. The majestic riffs retain the sheer quality of Viking black metal on “Tales of Tress”. The lead guitar passages are beautifully improvised, and the synth is one of the main elements that create a living motion of shimmering landscapes. The ambient, spacey synths are reminiscent of seventies krautrock; lead guitars and solos are a staple, weaving a brilliant facet.

The epic final track “I Miðju” elevates the scope of this atmospheric album. The clean vocals drift into blue spheres of myriad stars and galaxies, creating a profound experience; the songs offer ambience. The soaring vocals reach towering heights. The symmetry between the growling and clean vocals reminds fans that Enslaved is one of the finest bands in modern progressive metal.

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