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The Adversary | 
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| Artist: Ihsahn
Label: Candlelight
Category: Music
Buy New: $15.98
New (35) Used (15) from $7.89
Rating:  17 reviews
Sales Rank: 26539
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 126
UPC: 803341191327
EAN: 0803341191327
ASIN: B000ERU572
Release Date: April 18, 2006
Shipping: Eligible for Super Saver Shipping
Availability: Usually ships in 24 hours
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| Tracks:
| • | Invocation | | • | Called by the Fire | | • | Citizen | | • | Homecoming | | • | Astera Ton Proinon | | • | Panem et Circenses | | • | And He Shall Walk in Empty Places | | • | Will You Love Me Now? | | • | The Pain Is Still Mine |
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| Customer Reviews: Read 12 more reviews...
 Easily one of my favorite metal albums September 7, 2007
When it comes to reviewing any album, I like to start by categorizing it. Considering the album I'm reviewing here, this presents quite a difficulty. Obviously, most would agree that the opening track "Invocation" is black metal, while using such a categorization on the fourth track "Homecoming" would be an extraordinary stretch - the track having much more of a thrash/progressive sound to it. Thematically, however, I would consider Ihsahn's solo-effort black metal, more for the lyrical content and imagery than the music, though this is still quite black at times. A perfect example of this tension between black metal themes and extremely "not-black" music is Astera Ton Proinon. The vast majority of this song is rather subdued, with Ihsahn singing clean vocals over strings. The lyrics are based on the idea of Satan being the fallen angel referred to in Isaiah, which Ihsahn quotes: totally black metal. The tone of the song, however, puts this Biblical passage in a quite different light. Instead of a glorious and somewhat fearful reading of an "Adversary" being thrown out of heaven, Ihsahn presents this in epic and sorrowful language, with the musical accompaniment to match. Truly masterful, through not as typical as the mighty Emperor might have presented it.
I conclude from repeated listens that while this album isn't specifically a combination between any two metal genres, it could best be categorized as progressive black metal - very progressive. Ihsahn seems unbounded at last on this album. Every idea is his, and he seems to take every one to its logical conclusion, so to speak, regardless of where it takes him musically. This, I think, explains the diversity of this album, while also explaining how it feels so cohesive. This is a wonderful case study on thinking verses experiencing: purely by listening to this album, one only sees the unity of this album. The diversity of this record only becomes apparent after considering the various parts, sections, riffs, and so forth.
This album is masterful. While not as powerful in the same sense as an Emperor album, to put this as less than any Emperor release would be a grave miscalculation. This album is nothing short of genius.
In conclusion, I feel it is important to warn anyone who has ever written "HAIL WHOEVER" (and it has to be in Caps of course): The Adversary is not for you. Not so much because you're not capable of enjoy this album, but because I don't think I could handle reading another hack-job review of a great CD.
Best metal album of 2006 March 15, 2007
4 out of 4 found this review helpful
The Adversary is a concept album that I can't help but think, is a project that has been cooking for a while, with Ihsahn performing nearly all the instruments and vocals. It is my understanding that he programmed all of the percussion before recording, and then invited drummer Asgeir Mickelson (Spiral Architect), to play as written.
The concept behind the album is that bad boy Lucifer, and Ihsahn incisively portrays the title role through nine tracks of inventive music, which explores almost every genre of extreme metal around. The vocals are front and center in the mix. This seems fitting to me, considering that the lyrics are all written in a first person narrative. I have to give a pass to the crisp and rather flat mix, since it seems to set the stage for exceptionally flawless musicianship. (If you play that well, who needs effects anyway, right?) Ihsahn provides all of the vocals with the exception of Garm of Ulver, who deftly croons along on the math-metal inspired, albeit mellow fourth track "Homecoming.
Ihsahn is an acrobatic vocalist, and uses his voice to full effect with harrowing snarls, low growls, wicked rasps, and most of all, kick [...] singing in multi layered harmonies with one of the most amazing vocal ranges I have ever heard. On one of my favorite tunes on this album, the first track "Invocation", he deftly displays one of the most expressive shrieks in black metal, with wonderful tremolo, and mellow, clean vocal bridge.
The second track, "Called by the Fire" has been referred to by others as the metal ballad of the year, and is very "old school" in its use of an absolutely classic heavy metal guitar solo and Iron Maiden-like power hook driven chorus. I don't usually care for the "King Diamond" style singing employed here, but it is not overused, and the song is so diverse, (and so much fun!), I find myself enjoying the style more than I normally would. The power metal influences are also in the mostly blackened eighth track "Will You Love Me Now?" as well as the majestic choruses of doom-infused "Astera Non Proinon". The black metal influences are throughout, but especially noticeable on the third track "Citizen", the sixth track "Panem et Circences" which features a very Opeth like guitar riff, and the blistering seventh track "And He Shall Walk in Empty Places" which display some very nice thrashy blast beats. The latter is the track that most reminds me of Ihsahn's past Emperor-era albums "Prometheus" and "Equilibrium", but I really cannot compare this album to past Emperor recordings, as it is a progression from that sound. Progressive it is.
The final track "The Pain is Still Mine" is orchestral, melodic and, in a large way, gothic. There is an almost rock opera mood to the piece, with grandiose operatic vocal styling and classically inspired piano introduction. My very favorite track on the album, it provides a perfect finish to this most original and completely cohesive works of musical art. My choice for best album of 2006.
Masterpiece, Classic, Genius, Etc. February 21, 2007
Every so often, an album comes out that takes time for you to digest and absorb before you appreciate its genius.
This is NOT one of those albums! From the first note of the first riff of the first song, Ihsahn displays his amazing musical talent and songwriting ability honed over the course of more than a decade leading bands like Emperor (legendary in the black metal world) and Peccatum. The music is a blend of black and melodic death metal and progressive influences. It sounds like an organic snythesis of late Emperor (Anthems, IX Equilibrium, and Prometheus) and Peccatum. Heavy riffs, melodic interludes, amazing solos, emotional guitar passages, symphonic keyboards, clean vocals, growls, falsetto singing, quiet moments, tremolo picking, and blastbeats are all combined to create complex, dynamic, intense, innovative, and enthralling songs.
One thing that took me by surprise was the personal nature of the lyrics. I can't make out what he's screaming and growling but I can hear what he is singing and I can read the song titles. You can really feel the pain in Ihsahn's voice in parts of "Will You Love Me Now?" and other tracks.
Although it only has 9 tracks, rest assured, ALL of them are amazing. Ihsahn was smart to put only the most brilliant and amazing tracks on the album and ruthlessly cut semi-decent and mediocre songs (better to have 9/9 incredible tracks than mar the masterpiece with 2-5 songs that people would end up skipping anyway and lower the album's overall quality).
If you like innovative, fresh, progressive melodic black/death metal then this album is for you. It's a classic in a genre dominated by a few classics and hordes of poor and mediocre imitators (although if people tried to imitate material like this maybe the metal world would be better off). Those who like Dark Tranquillity, Opeth, Dissection, Satyricon, late Immortal, early-mid Cradle of Filth, late Emperor, and Arcturus will love this album. The sooner he releases a second album, the better.
Instant Metal Classic!!!! October 4, 2006
1 out of 2 found this review helpful
I had reservations about buying this fearing that it would be more along the lines of his other (non Emporer) bands. This album turned out to be a true masterpeice of black metal. It is very fast and hard yet still has great slow parts. While some of the album sounds very much like the final Emporer CD, it truely has it's own feel. The guitar work and vocals are insane. Any Emporer or black metal fan will pleasntly suprised with this stunning solo debut from the Emporer frontman. Emporer fans-BUY IT!
 (4.5 stars) Grrrrreat! September 29, 2006
1 out of 5 found this review helpful
Ihsahn has kept fairly busy in recent years. Since 2001, he's made three albums with his wife Ihriel under the band name Peccatum, and he even rejoined Emperor when the seminal black metal band reformed late last year. But much to many fans' surprise, the Norwegian frontman seems to have put those bands on the back burner so he can concentrate on his self-titled solo project, which debuted earlier this year.
This debut, entitled "The Adversary," was rumored to be a "genius" album long before it was even released, meaning it could have been a big disappointment. But it's not. It might have been a surprise that Ihsahn started a solo project, but it's an even greater surprise that "The Adversary" is easily the best material Ihsahn has put out in recent memory (since Emperor's 1999 disc, "XI Equilibrium").
Ihsahn seamlessly blends together a staggering amount of different musical styles/genres: progressive metal, thrash, black metal, symphonic metal, classic metal, and even a little bit of death metal. The result is a record which is wholly original, creative, and unique (even though it has a couple Opeth-esque parts), and the songs are jam-packed with potential, diversity, and ideas.
"Invocation" opens the album with a blistering guitar attack and quick, thumping drums, but the song slows down a couple minutes in for a soft mid-section and some delightfully impressive, proper singing. "Called by the Fire" continues in the same vein, with a catchy, propulsive, running guitar lead, a mazey solo, a beeping bass line, limpid, almost soulful vocals, and a very memorable and hooky chorus. Following that, "Citizen" begins with a wealth of brutal guitar-drum interplay, but it pauses midway through for an effective (and very unexpected) piano interlude. "Homecoming" and "Astera Ton Proinon," are surprisingly restrained and mellow cuts, but the next three tracks after those return the disc to its heavy roots: "Panem et Circenses" has machine gun drums (including a fast double bass) and careening guitars, "And He Shall Walk In Empty Places" boasts a deep, forceful groove, and "Will You Love Me Now?" is similar to the opener ("Invocation") because it's bolstered by smoking riffs.
"Pain Is Still Mine" is a superb album closer and one of the disc's biggest highpoints. Even though parts of it are heavy, the song is mainly highlighted by some gorgeous moments (orchestral violins, chilling, slow piano keys, and deep, lung stretching vocals reminiscent of Bruce Dickinson).
It will probably take a while for the listener to realize it, but once the music sinks in, "The Adversary" holds some great rewards. Granted, the record is hindered by a fairly flat production, and it is, overall a little bit overrated. But this is still a great and highly infectious album (easily one of the year's best black and/or progressive metal releases), and it's an extremely promising start for Ihsahn's solo project. It does fall short of being truly "genius"...but only just a little.
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