Ihsahn Telemark & Pharos Livestream
There are few Norwegian metal musicians quite as prolific as Vegard Tveitan, known more broadly as Ihsahn. Arguably fewer still held in such reverence. His portfolio of music is on par with fellow countrymen Ulver in terms of diversity, although in terms of significance it's hard to argue that with his beginnings in Emperor, Ihsahn has had more stamp on today's metal blueprint. 2020 saw Ihsahn largely confined to the studio where he wrote and self-produced two contrasting EP's in Telemark and Pharos. The former effused his more trademark stylings of blackened progressive metal alongside some punchy covers and the latter exploring a more art-pop influenced sound, again punctuated with some ambitious covers with the assistance of gifted routine collaborator and brother-in-law Einar Solberg of Leprous fame. When combined the two EP's illustrate the evolution and range of Ihsahn's sound to date with a few subtle nods to his origins. In the absence of being able to tour in his usual capacity, Ihsahn has taken the route of a live-stream at a local venue to showcase the material with the addition of excerpts from his Das Seelenbrechen record.
Back in December I watched a joint livestream of Leprous and Ihsahn where the two bands alternated after a few songs each. This was his first show performing in anything close to a live capacity since the pandemic begun and it was evident at points that this was unfamiliar territory for a musician even with Ihsahn's pedigree and experience. Some noticeable wobbles here and there, and a no doubt peculiar live environment under strict social distancing regulations would feel quite out of step with the packed venues and festival shows that Ihsahn is likely more accustomed to - but you could still see the hunger. The show was superbly produced though thanks to the talent at Munin's production company who are doing some excellent work at supporting the Norwegian music scene in difficult times, so it's unsurprising that Ihsahn teamed up with Munin once again for the production of this stream.
Early on in the stream, Ihsahn explains that this is most dynamic live production he's performed. He's probably right on the money as the lights lift when opener Losing Altitude kicks in and a seated band is unveiled. All things considered, given the first half of the show is Pharos performed in full this was a fitting arrangement for the more relaxed pace. Lush string-laden synths emblazon a strong progressive rock appetiser that crescendos and ebbs away as quickly as it arrived. Ihsahn thanks the viewers for joining before introducing Spectre At The Feast, Pharos' "radio-friendly" number following a similar vein of art-pop styling with infectious verse/chorus patterns. Following the EP's running order the title track (and this reviewer's choice cut from the EP) follows quickly after, and between the distinctly lounge feel of the verse that if anything is emphasised by the seated performance and the stark contrast of the brooding unison chorus replete with chanting, this is where it really feels like an "Ihsahn" show.
This is the point where Ihsahn makes a note that it feels strange sitting down, although this isn't to last much longer. The cover of Roads by Bristol's trip-hop pioneers Portishead was ambitious on record, and it's a tough track for even the most seasoned of vocalists which is something I allured to when reviewing the EP studio release - but Ihsahn does an admirable job of performing this live although it's clear this is still a difficult territory for his particular vocal range. That being said, without the benefits of studio magic the live environment provides an endearing vulnerable authenticity to the cover that pulls it closer to original in some respects (give the New York Live performance by Portishead a spin to really appreciate the difference that live/recorded makes!). The lights dim to a piano interlude and the familiar vocalisations of Einar Solberg echo around the stage, and it isn't long before the swaggering silhouette of Leprous' frontman has joined a now standing ensemble for an ethereal rendition of A-Ha's Manhattan Skyline. Einar's voice is the perfect match for this track, and the confidence evoked from a more familiar non-seated arrangement for Ihsahn really shines through at this point. This is the comfort zone, and it shows.
A further piano interlude signals a transition towards a different set of material, and Ihsahn quickly announces the performance of Hilber, opening track of Das Seelenbrechen. Dissonant guitars, polyrhythms, swirling synths and those ever-present scathing rasps escalate the atmosphere and change the pace of the stream culminating in a dazzling light show before the tempo is dropped once again for popular track Pulse. No surprises with this inclusion as it signified an abrupt expansion of Ihsahn's repertoire on release in 2013 and slots perfectly into the set with its downtuned trip-hop vibes. Another short break while the band re-arrange, Ihsahn introduces his performing musicians giving a significant head-nod to the keyboard player now-turned-bassist who taught himself the instrument since Telemark was written allowing him to perform at this show. Impressive stuff.
Opting next to perform the covers from Telemark first, Rock & Roll Is Dead originally by Lenny Kravitz opens up the latter portion of the performance, and stylistically fits Ihsahn's qualities well especially with his vocal versatility imprinting onto the rendition well. A solid cover of Iron Maiden's Wrathchild follows suit building up the energy further, as if you'd expect any less from a Maiden song? Before plunging into the original material of the EP, Ihsahn thanks the 20 people that were allowed to attend and the live audience at home, perhaps giving away in some capacity how much he clearly wishes to be doing what he's been used to in a live environment for so long - his words honest and weighted.
Stridig is announced and galloped into with urgency, the energy of the performance now night and day from the start with stampeding drums, furious brass synths and Ihsahn's trademark howling really selling this as a track to be showcased in front of a real crowd. Nord swiftly follows suit to continue that momentum and is a real head-mover, flitting between mid-tempo black metal stylings and almost uplifting chorus that showcases Ihsahn's niche perfectly. Criticism? Over too quickly. Ihsahn thanks both the audiences one final time in his typically understated fashion before the title track "Telemark" drifts into focus. Clearly some thought that been put into the running order as this just works - bombast, energy, tempo changes, mood swings and an earnest climax to a thoroughly enchanting & eclectic live performance from an unreasonably talented individual. 8/10
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