Ihsahn – Pharos – EP Review

Artist: Ihsahn

Album Title: Pharos EP

Label: Candlelight Records

Date of Release: 11 September 2020

‘Pharos’ is the second of two EPs released during 2020 by the incredible talent that is Ihsahn. The EPs are apparently intertwined but, as the press release so rightly states, there are some sharp contrasts between the two offerings. Mind you, given the obvious talents and ability of the main protagonist, it will come as no surprise to most of us that once again, the musical offering on ‘Pharos’ explores yet more new and intriguing avenues.

Whereas ‘Telemark’ represented the more confrontational, heavy, and metallic side of Ihsahn, ‘Pharos’ is a much more restrained, quieter, introspective affair. And, if I’m being entirely honest, I think I prefer ‘Pharos’ overall. I wasn’t expecting that to be the case at all, but it’s the reality with which I am faced. And it’s all down to the talents of the artist, both in terms of song writing and performance.

Straight off the bat, we are presented with ‘Losing Altitude’, and it is a gorgeous song from beginning to end. From the opening melodious yet slightly dark guitar notes, the song just draws you in, and holds you captivated throughout. I’d happily state on record that the clean vocals that litter this track are easily some of Ihsahn’s best, full of warmth and a quiet pensive quality; they seem to be delivered effortlessly, but it’s clear that this is merely an illusion; it is Ihsahn’s raw ability that makes things seem so easy and smooth. Delicate piano notes permeate and I really enjoy the way that the song builds in intensity until a wonderfully heavy riff nods towards the latent extreme metal credentials that are never too far away. But it’s the strength of the melodies that make the biggest mark on me, both powerful and nuanced. The end result is a mesmerising track that burrows its claws deep, refusing to let go.

‘Spectre At The Feast’ has a much more progressive feel to it, as well as injecting some rich classical orchestration and a sense of ‘fun’ too. It is a brighter, breezier composition with some cheeky embellishments, but it has a sense of eclecticism that takes a while to get used to. But when all the seemingly disparate elements click into place, it’s a very rewarding feeling.

The title track begins in a much broodier and darker vein, taking a long time to open up into something appreciably lighter and airier. But the key to this song is the choral vocals and heavier, pounding sections that add palpable drama to the composition in a way that is different to any of the other music on this EP. It might be my least favourite of the three original compositions, but only marginally and only because I enjoy the other two so much.

In keeping with ‘Telemark’, the final two songs are covers, namely ‘Roads’ by Portishead and A-ha’s ‘Manhattan Skyline’. I’m not really a fan of either band, but these two covers are actually really cool, especially the latter. Featuring the unique vocals of Leprous’ Einar Solberg, it has a spine-tingling quality to it, that makes me want to reassess my indifference to the Norwegian synth-pop outfit from the 80s. I have listened to this song countless times and it just gets better with every spin; the melodies, the guitar tones, the strong synth sounds, and the guitar solo in the latter stages – they all combine to great effect, making a huge impact in the process.

To be honest, it may only feature five songs, but this entire endeavour makes a huge impact. And, whilst it is somewhat removed stylistically from ‘Telemark’, they both make a lot of sense when listened to together, one after the other. You can hear Ihsahn’s influences throughout, and the mark he has made on the music, both the originals and the cover songs. ‘Pharos’ may explore Ihsahn’s softer side, but it is no less intense and enjoyable. I’d even argue that ‘Pharos’ contains some of his very best work to date. Another no-brainer for you to explore and enjoy.

The Score of Much Metal: 93%