Former Emperor frontman Ihsahn's third solo album is closer to mainstream rock than its two predecessors, but is also a totally unique statement -- and a brilliant one. Opening track The Barren Lands features progressive rock riffing, an almost art-funk rhythm, and guitar solos worthy of Living Colour. Faster tracks like A Grave Inversed are impeccably produced, abandoning black metal's ultra-trebly screech for an intricate thrash reminiscent of Rigor Mortis' Freaks -- except for the honking, almost free jazz saxophone (!). The ten-minute Undercurrent heads into jazz fusion territory, with liquid, almost fretless-sounding bass underneath delicate, repeating guitar figures and drums that fall somewhere between Tool and Opeth's quieter moments. But it gets heavy, whipping into another furious yet utterly controlled art-thrash hurricane. It's not the only ten-minute track on the album, either; After ends with On the Shores, which is almost Yakuza-esque in the way its guitars roar in aggressive yet majestic fashion while the saxophone skronks and squeals up front. This is a seriously mind-warping manifesto from a guy who helped create symphonic black metal with Emperor; he's now moved into the progressive, post-black metal territory occupied by artists like Nachtmystium and particularly Enslaved. ~ Phil Freeman, Rovi

1		The Barren Lands
2		A Grave Inversed
3		After
4		Frozen Lakes On Mars
5		Undercurrent
6		Austere
7		Heavens Black Sea
8		On The Shores

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