IHSAHN (ORCHESTRAL)

When the new album was released in February 2024, it was something of a surprise to fans to discover there were two quite different but closely related versions coming out at the same time. When Ihsahn composed the album on piano, he did so with the intention of not only having an orchestra take on an important role within the album but also for that music to then stand alone in its own right. Interestingly I have seen very few mentions of this version of the album, which is a real shame as I am having difficulties deciding which is the superior, with this album containing some wonderfully classic influences by the likes of Beethoven and Wagner, and the lack of guitars and rock instruments not being missed at all.

Some many notice the cover on this is almost the same as studio album, yet slightly blurred, almost as if something is out of focus yet while that may be the case with Ritxi Ostari, the same cannot be said for Vegard Sverre Tveitan who obviously has laser focus on what this album needed for it to come to fruition. This never sounds as if there is anything missing, it feels complete in every way, so I am not sure if there have been any changes in the arrangements from what appeared on the studio release, but I would be surprised if there were not. Due to the alphabet I actually played this album prior to listening to the other one and was incredibly impressed with just how well this stands up, and there is no doubt in my mind that if Ihsahn ever wanted to move away from blasting out songs from 'Anthems to the Welkin at Dusk' then he would be welcomed into the classical music fold with open arms.

The strings are a thing of beauty on "A Taste of the Ambrosia", building passion and emotions in an incredible way as Ihsahn shows just why he is viewed by many as one of Norway's must important musical exports. The question now is where to from here? Ihsahn has created two albums which both stand in their own right, are interlinked but very different in their approach. Superb.