Carrying through ancient endoxa. — The ache of fixation, or, the body’s twisted torpor when the mind will not relent in its stream of debilitating muse feeds daimonian malaise directly into this ninth full-length album from Bergen, Norway-based black/death metal legendry Aeternus as they celebrate thirty years spent developing a form of adventurous pagan-minded “dark metal” entirely their own. Per its insistent mid-paced swaggering pulse and verbose exposition ‘Philosopher‘ demands that its overflowing nuance count more than a long-standing reputation, that the whole of its masterful ~40 minute conversation is considered, mulled in real-time as its diabolically swaying pieces engage the mind as additive strokes to the signature available. Rather than bloat on about a considerable legacy upheld, all of which would be warranted, we can receive this album as the latest trip from these well-proven explorers.

Aeternus formed back in 1993 among many notable outliers in the Bergen scene of the time. Their work remains one of the most important instructors I’ve come across in my travels per a few key lessons: The first is the simple observance of atmosphere as both presence and textural detail in extreme metal which their debut LP (‘Beyond the Wandering Moon‘, 1997) provides exemplar study, and to the point that is remains an all-time favorite. Of course their own form of adventurous, heavy metal braced black/death metal inspired by both classical music and Scandinavian folk music ensured that their work had impact in every case over the span of seven albums and twenty years, and this was not only limited to the three absolute master works they’d produced in the late 90’s. After returning from their three album foray into a brutal blackened death metal attack in the 2000’s main composer/founder Ares would use 2013’s ‘…and the Seventh His Soul Detesteth‘ as a point of resolve wherein it’d appear that the artist was conscious of the need to construct a cumulative thesis on his greater journey. For the sake of brevity I will suggest that it was ‘Heathen‘ circa 2018 that’d best achieved representative identity while still heartily suggesting progress made over the years as a musician and artist. I’d rated that album highly though I’m not sure I’d taken enough time to soak in its careful pacing, unique sound design and the overall tact of that record compared to anything else at the time.

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Hades: aka Hades Almighty offers the best direct compliment to the early-to-mid 90’s development of Aeternus‘ sound with its Bathory-isms and melodic ambitions.

Molested: Their debut ‘Blod-draum‘ (1995) is the second most important Norwegian death metal album after ‘Soulside Journey‘ and one which features incredible atmosphere, brutality, and other elements which may enhance your trip through Aeternus‘ discography in hindsight.

Borknagar: While the production values ensure a high volume headphone-readied listen ‘Borknagar‘ (1996) is the only album from that same era which measures up to Aeternus‘ debut in its effect.

Bands seemingly inspired by Aeternus‘ rhythm guitar style over the years: The Ruins of Beverast, Belenos, Hate Forest.

With five years set between the seventh, eighth and now ninth Aeternus full-lengths each reads appropriately considered per said span of time but likewise driven towards a very specific result and the production values matter in each case. ‘Philosopher‘ naturally bears close fidelity, presence and overall production value compared to ‘Heathen‘ thanks to the same co-production setup between the band and Herbrand Larsen (Conclave & Earshot Studios) but this time they’ve got with mastering from Lawrence Mackrory (Rorysound Studio) who is best known for his work with death metal bands, both in studio and as a musician. By direct comparison these results are hairier, buzzing with contempt, and spilling over with much to say lyrically. I only wish I’d had a lyric sheet in order to fully dig into the exact headspace of the experience.

If it felt like ‘Heathen‘ was progressive in tone, minimal and almost restful in its consideration then expect this follow-up to wield a marginally sharper edge and steadied pacing built to brace longer phrases in verse. Narrative has always been strong suit for Ares‘ work but here it becomes additionally important in giving purpose (and diction) to these darker musing skies, wherein a chorus there might be replaced by a declarative statement performed in loose melodic shape. This creates a droning, focused and ranting tonality within the first three songs on the album as the mood is set within opener “Existentialist Hunter“. The skull-rattling precision of drummer Phobos crafts verse cues with signature double-bass drum pulses, similarly pummeling as their 2000’s death metal albums, which helps to maintain tension which spans the larger thought. One of the core lines in this song is easily distinguished: “To talk about oneself in past tense is the ultimate reduction of the necessary expansion of the true self…”, and from that point we can assume per the song titles that this album will focus on dark turns of phrase which feed philosophical (or, simply existential) observation through a necrotic tunnel of venomous occult perspective. “World Bleak Nepotism” has a similarly introspective yet insidious tone as it sleepily drifts from verse to verse, the keen-earned fan will recognize Ares‘ signature rhythm work here though it might not feel as immediate or vital compared to the pieces on the second half of this album.

This intoxicating, surreal feeling of wandering through a corridor of endless nihilistic muse peaks as its storm hits a point of stride within the sopping floodplains of “The Intentionality of Unmitigated Evil”. Here we’ve experienced the main points of conversation, the core guitar language explored, and even some of the more chilled, jazz-like tact of ‘Heathen‘ is felt here as we step into the second half with “Void of Venom”, a piece which builds its form slowly with ringing and plucked at sensitivity before driving its ‘epic’ flow toward its central point of pivot, breaking into a lounge-level bassline and slow jazz swing around ~4:05 minutes in. A high point but an inarguably subtle escalation overall; I haven’t intended to quickly roll through each song track-by-track but I believe the listening experience will roll by with so little to impede most listener’s glide through the first few pieces that it might not register deep enough impression to pull some folks in. The transitional ease through “Void of Venom”, which I’d felt was the first standout to catch my ear on initial listens, also essentially contrasts with the vibrant elegance of key single “Wresting Worm“, an important source of marching momentum into the second half as this single-minded record begins to resemble dreamlike state of focus, wherein the protagonist tunnels deep into thought without ever looking back.

Deep in the dark pit of Side B “The Luciferian Architect” isn’t the first piece on the album to put forth a big riff or two but it will almost definitely stand out in the minds of longtime fans who’re looking for any semblance of Aeternus‘ late 90’s dark metal sound per its thickly textural riffs, rushing start, and the charging yet melodious stride out which finishes the song. It is a triumphal moment within the introspective sphere of ‘Philosopher‘ and in some aspects the heaviest song on the full listen. Though the album resolves with an intricate, memorable glowing storm ’til the end per its closing piece (“Carving the Pristine Anomie”) I couldn’t help but feel like a certain sameness lingered throughout all of the guitar compositions, their pacing and arrangements seemed very active but frequently revisited well-worn pathways, some thrillingly familiar signature Aeternus whereas other moments were almost too similar in structure/technique than their neighboring pieces. This was less of an issue once I’d been familiar with the full journey, I’d ultimately found the most often used arpeggiated style of riff and its interplay entertaining for its subtleties.

Though I’ve no real collective grasp of the lyrics herein beyond what is apparent at face value, the theme of ‘Philosopher‘ is reinforced by the easily read necro-Aristotle at the throne in the cover artwork from Polish artist Mar.A.. When paired with a slightly more voluminous and rugged production value alongside the purgatorial gallop of the album I’d felt the complete package and its overall effect to be brilliantly considered though there wasn’t anything all-too obviously above average about the experience that’d pulled me back in time and again. It’d taken at least five or six full spins before I began to full recognize the history and knack of Aeternus in this album beyond the obvious and still returned for at least fifteen or so before I’d overdone it a bit. From the perspective of a longtime fan this record refines the signature personae one’d want to hear from the group after so many years while continuing to develop their modern ideation of said sound. Of course that doesn’t ultimately guarantee a record which yields a point of greater understanding off the bat. To arrive upon the profundity of album number nine it will obviously help to have delved deep into the context of each of the three decades of their existence before landing upon the idiosyncratic virtues of this record, the product of a stoic identity which is yet rooted in boldly inquisitive nature. A high recommendation.

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