2006-04-03
Arcturus is one of those great side projects done by various extreme metal band members, in about the same league of
Vintersorg and
Winds. Showing the avantgarde/symphonic/atmospheric side of those musicians – in this case it is the brainchild of Steinar Johnsen (a.k.a. Sverd) and Jan Axel Von blomberg (a.k.a. Hellhammer) – on the basis of their metal roots.
This is Arcturus’s first album without vocalist Kristoffer Rygg (who is also responsible for
Ulver) and his absence is what is most felt here. Simen Hestnæs (a.k.a ICS Vortex) was chosen to fill the empty vocalist spot, and to tell you the truth I find it hard to get used to his at-times-Muppet-like voice (in my opinion he sounds better doing backing vocals, as well as bass duties, in
Dimmu Borgir).
His distinctive voice sounds unfitting in “Hibernation Sickness Complete”, which opens the album, the song itself is very futuristic and perhaps even a bit like space-rock in the beginning; the overall composition is everything you can wish for, dramatic and diverse whenever needed and interesting enough to match up to the high standards the involved musicians have.
The next track, “Shipwrecked Frontier Pioneer”, shows Hellhammer’s ability on the drumset – changing paces and styles in a majestic manner; while “Deamon Painter” is much more led by Sverd’s multiple layered keyboards and is quite a highlight.
Another dimension which this release has is a progressive metal feel, peaked in “Reflections”, an instrumental, which is each musician’s opportunity to show how his ability is combined with that of the rest.
I’ve noted that I’m not much of a fan of Simen’s voice, but I can’t ignore the fact he does a great job in “Nocturnal Vision Revisited” which starts in a minimal, almost darkwave way, but grows to a complex song that offers both soft emotional parts and powerful axe waving parts; as well as in “Evacuation Code Deciphered” that strikes exactly where the opener missed and also features lovely duets.
The weakest link here is “Moonshine Delirium”, which actually starts off in a good dark way, but flops when it gets to the chorus; this track’s parts don’t connect well enough, meaning each one is good (including the electronic brake and the neo-classical brake) but as a whole it doesn’t work.
Its follower, “White Noise Monster” is somewhat compensating, going full force ahead and ending with a long ambient part.
“Hupsa” closes the album in the best way possible, with an almost doom metal atmosphere and lyrics in a foreign language (Norwegian?); this track has a more relaxed vibe so it feels like you’ve come to an end.
“Sideshow Symphonies” is to be listened as a whole, including all the ups and downs it offers – a piece of time if you wish – oriented in black metal but in fact much closer to progressive metal.
Ofer Vayner
