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Mardraum: Beyond the Within routinely stands as the most overlooked album in Enslaved's extensive discography. It's a state I find pretty baffling, considering it's one of the most historically significant stages in their career. From a gloriously thrashy and straightforward outing on Blodhemn, Enslaved finally took the plunge they had been alluding to since their debut. Although the headstrong nods to 1970s progressive rock would only become obvious on Monumension, it's enough to say that Enslaved became a full-fledged progressive metal outfit on Mardraum. It's the only way I could justify some of the more outlandish stretches they take on this album.
Looking back, the leap forward they took here is awe-inspiring. Especially when I imagine listening to Blodhemn in 1998, I would never have thought they would follow it up with an album that lops everything from doom and death metal to post-rock into their trademark sound. If Blodhemn was Enslaved at their most vicious and intense, Mardraum is surely the band at their most varied. On the previous album I was surprised to hear them pulling off sections akin to Inquisition. The same goes moreso for some of the gruelling riffs here, which instantly recalled the tech-inclined death metal Darkthrone were playing on their first record. Or what about the punk-infused riffs on "Det Endelege Riket?" It goes to show that the sliding scale between prog and black metal most are intent to place Enslaved is far too narrow to encapsulate their sound. They've been doing more at every stage, and Mardraum probably offers the most surprises of all.
Mardraum is the most creatively risky effort of this band's life. In such talented hands, that could never be considered a bad thing. With that said, it's a shame that their grand entrance into the prog metal pantheon comes with its fair share of growing pains and rough edges. I don't think there's ever been a time I've listened to this album and I didn't get the impression it was messy and overly long. For all the flak I give an album like Isa, they knew exactly where they wanted to go on that album and how to get there. In good ways and bad, Mardraum strikes me as an all-inclusive flow of ideas, and damn how they might complement each other. This isn't helped much by the production, which is among the worst of their career. The organic rawness of the early stuff gives way to a murky production that sounds like it's trying to be "modern," but lacks the clarity. Again, I would blame brush this off as a matter of growing pains. And despite the massive gains they made here, there was still a lot of growing to do.
Even outside the historical context as Enslaved's first "prog" record, Mardraum has got it where it counts. The punchy riffs and varied ideas outweigh the uncertain songwriting and dry production. Although I don't necessarily mind the direction they took on future albums, I do wonder how much more impressive they might have been if they had kept their approach so chaotic and freeform. The polished streamlining of their prog tendencies beginning on Monumension (and coming full form on Isa) gave their work a greater logic, but this is probably the last album where their creatively felt appropriately wild.
With the dawn of a new millennium, it was fitting that Enslaved begin to think about their future. With former heavy-hitters like Mayhem, Darkthrone, and Gorgoroth either stagnating or changing styles, the early 2nd-wave black metal scene was at an end. So far we had seen Enslaved progress from droning progressive black, to more concise songwriters, to epic viking story-tellers with a penchant for speed. With Mardraum, they begin a slow transition into wider territories and sounds.
Those expecting another Blodhemn or Frost are in for a surprise. There are elements of both of those records here. The Bathory-inspired riffs and structures, the epic war marches and chants; the album even begins with a splendid 10-minute oeuvre not unlike “793” on Eld. The difference is that all of these elements begin to take on new qualities and occupy a different space. Everything sounds bigger, moving from the icy cave and the battlefield to stare into the night sky and ponder the distance of each star. Okay, that’s hokey as shit, but I am not sure how else to put it.
Production-wise, the bass guitar has moved back up a bit and rumbles around adding new textures and a warmer feel. The guitar continues with a tone and level similar to the squelchy balance found on Blodhemn. Harsh vocals are sharp and more aggressive than ever. I had compared the previous approach to that of Taake, Absu, and even Quorthon, but here it matches the evil of Gorgoroth. Alternatively, the cleans are explored in a higher register, quite successfully I might add. The continued use of reverb makes them sound like warnings from the ghosts of fallen soldiers.
Enslaved also explore new ideas in the riff department. The usual tremolo melodies remain stronger than ever, but are consistently broken up with spacey rock solos, country-sounding bass breaks, and Maiden-esque power chord marches. Despite the frequent genre changes, transitions are clever and surprisingly smooth. I find myself grinning frequently during this album at how seamlessly the opposing riffs are crafted together. And the drums. The DRUMS. This has always been a selling point for in how willing Enslaved is to defy typical BM convention by being extremely technical. Mardraum is no different, but the added energy here is nothing short of astonishing. This guy must have been listening to a lot of Rush prior to recording.
In the end, Mardraum definitely makes my top 3 Enslaved albums and often rivals for #1. It’s a tall order in such an amazing discography, but so much is done right. It is more explorative than the excellent Blodhemn or Frost, more concise than the Floydier Monumenstion or Below the Lights, and more technically adept than melodic masterpieces Isa or Axioma. Despite its high ratings, I don’t see many people talk much about this album, and that is a crime. You must buy this album today.
By the turn of the century, Enslaved had produced a quartet of compelling albums, establishing themselves as reliable and unique purveyors of the blackened arts. Following Quorthon’s late-career lead, Enslaved eschewed Satan as sole subject to focus on Scandinavian folklore and mythology. For this, the band would earn the ubiquitous genre tag of “Viking metal.” Enslaved were, in actuality, quickly transcending the boundaries of black metal’s second wave. Mardraum is the Enslaved album that truly crushed all categorization, smashing minds and sailing off the edge of the known universe with aplomb.
Two years earlier, Enslaved had released Blodhemn, an excellent album marked by ripping riffs and curious compositional advancements. Roy Kronheim had recently joined Enslaved on second guitar, creating a compelling synergy with the band’s founding duo. Mardraum would exhibit the full force of that collaboration, producing some of metal’s most singularly strange riffs, transitions, and atmospheric anomalies.
Mardraum bristles with creative energy, pressing the boundaries of “epic” with soaring, eccentric, and memorable melody. Mundane guitar phrases contain extra syllables that render them alien, unspeakable, and worthy of awe. The odd and endearing clean guitars explore transcendent dimensions of triumph. When Enslaved are not mastering all that is monumental, they’re tearing down the universe with a pandemonium of churning, thrashing genius.
Ivar Bjørnson and Roy Kronheim are, ostensibly, playing the same guitar lines much of the time, but each seems to interpret the same riffs in wildly different manners. The result is a riotous sonic ride; each of your ears will be hard pressed to comprehend this glorious abuse of the stereo field. The elastic and ecstatic guitars seem to be herded by Grutle Kjellson’s busty bass lines. This curious rhythmic dynamic serves to shape Mardraum’s aura. Adding to the disregard of convention and sanity are moments of raunchy filth where the proceedings slow to a drunken crawl and careen about in a bluesy stupor.
Mardraum is marked by wicked rhythmic intricacy, executed with utter abandon. The guitars seem unconcerned with the percussive chassis in which they ride. Dirge Rep is a preeminent purveyor of organic drumming mastery, but his work is often obscured and overshadowed on Mardraum (see Below the Lights for his finest hour). His thundering battery does break through the wall every so often to evoke abject amazement.
The frequent gang-chants and clean vocals are passionate, unruly, and unchecked, providing a stark comparison to the composed and careful singing that would mark latter day Enslaved. Grutle’s filthy gurgle details the metaphysics of Nordic myth in a combination of Norwegian and English. His screams are, as always, expressions of unrepentant disgust.
Mardraum is an exercise in unrestraint and a virtuosic embodiment of chaos. Glorious sonic oddity and victorious idiosyncrasy make the album an endlessly listenable and enduring piece of black metal history. The Enslaved discography is marked by a dogged and pleasing pursuit of progress; perhaps no other band has achieved such success in the name of transmutation. Mardraum is the band’s greatest leap, an edifice that cannot be reproduced or revisited.
Originally published here.
Ever since the release of “Isa”, Enslaved have been constantly labelled as one of the most promising and exciting bands within the genre of extreme progressive metal, and it's certainly no surprise why. Many of those that were introduced to the band may well have been done so via the “Below the Lights” album or any other Enslaved material released after that point, but how many can honestly say they have attempted to find out just where these diverse, progressive stylings began? “Mardraum-Beyond the Within” and “Monumension” are not albums that come to mind when asked just what Enslaved's so-called “turning point” actually was, and it's a shame because these releases are far too often overlooked when researching the band's career as a whole.
The former album, “Mardraum-Beyond the Within”, has been described by no other than vocalist and bassist Grutje Kjellson as “the band's ultimate shift in musical styles”. The fact that the album's title refers to the idea of one stepping out of their own reality and into another, obscurer one, is not surprising at all, given that many of the band's lyrical content in recent times has depended solely on such themes as transcendence, shifts into other dimensions and spiritual energy. “Mardraum” itself means simply “Nightmare”, but alongside “Beyond the Within” you can tell the band deliberately named this album with that specific title.
Musically speaking, there is little to be queried here. If you're question is “Does this album differ completely from the band's releases within the decade of the 90's?”, the answer is quite plainly “No”. Although there are instances where the band do delve into experimental territory, the majority of “Mardraum...” does still partly rely on extreme metal influences, which is most probably why Enslaved are described as an “extreme” progressive Metal band, as opposed to just “Progressive Metal”. With such aggressive, fast-paced tracks as the hateful “Daudningekvida” (Deadhymn) and equally as menacing “Ormagard” (The Hive), the band certainly retain their black metal styles, but fuse them carefully with progressive leanings.
The album's true success does indeed come from the band's experimentation, and whenever you think the band are just about to to continue with their constant black metal barrages, the music stops being so aggressive and channels itself into a completely new form of music, often that of a psychedelic or melodic one. An extremely good example of this is the album's instant highlight “Entrance-Escape”. Beginning with a hypnotic, sprawling guitar effect and gradually becoming more and more sinister with its sound, these seven-or-so minutes of experimental metal never seem to bore the listener or indeed underwhelm expectations, as is well known of Enslaved's latter musical style. The shifts from fast, rampaging guitar work to melancholic, acoustic guitar leads are definitive evidence that Enslaved were now a band in a world of their own, unable to be copied by anyone else. Even the tense yet eventually hypnotic opener “Storre enn Tid-Tyngre enn Natt” (Larger than Time-Heavier than Night), with it's constant tempo shifts and excellently executed guitar solos (courtesy of no other than Ivar Bjornson), still manages to satisfy the listener's wishes and makes itself instantly memorable, hours after having been played.
Another important aspect of “Mardraum” is the vocals and voice effects themselves. This is most evident on the album's title track, in which the screaming voices and creepy narrative work contribute brilliantly to the concept of the song itself. “Nightmare” is a word that often arises in psychological themes and dealings with the sub-/unconscious, and listening to this track you can almost feel as if you're being pulled into a nightmare with the sprawling guitar work and haunting sound effects. That's basically how much work Enslaved had put into this album when crafting its very soul. Even when the clean vocals come in to cleverly compliment the harsher vocals, they are done so with such elegance and beauty that it's hard to be amazed by their true talent. Even more interesting is the fact that this is one of the first Enslaved albums wherein each and every member of the band sing together, almost like a choir, flowing well with the harsh, grunted vocals all the time.
It's important to note that “Mardraum-Beyond the Within” is not entirely an extreme progressive metal album, and one can understand this clearly when listening to the album as a whole, especially taking into account that the production is indifferent to that of the “Eld” or “Blodhemn” albums. Even the likes of the epic “Krigaren eg Ikkye Kjende” (Warrior unknown) or the insane “Det endelege Riket” (The ending Empire) have some essence of raw black metal to their sound, and although that may be down to the album's slightly fuzzy production, it still pays a slight homage to the band's earlier sound. However, this may be what annoys some when listening to “Mardraum...” as a whole-the fact that when the band use black metal influences to their full effect, they really don't seem to be different in any way compared to other Norwegian black metal bands. Thankfully, this is saved by the band's clever use of strange sound effects and clever experimentation.
It's a shame that “Mardraum-Beyond the Within” is often overlooked by fans of the band who were introduced via “Isa” or even “Below the Lights”, yet musically the album is both a decent mixture of the band's earlier, more aggressive sound and their experimental touches. I say “decent”, because the album is not in any way a flawless one, but is certainly a good place to start if you are wondering why Enslaved sound the way they do today, in 2013.
Heavily contrasted to the point at which it often feels scatterbrained, Mardraum: Beyond the Within is perhaps the greatest evolutionary leap Enslaved has taken in their career. It's not the ONLY major shift in their creative tectonics, mind you, but in comparison to the potency and focus of its predecessor (Blodhemn), this almost feels like a different band. You'll recognize the vocals, and perhaps some of the guitar playing, and yes the interesting and introspective marriage of Norse myth and history to an individual philosophy, but otherwise the game is afoot. Ivar and Grutle just took a dive into the deep end, and though they've written far more accessible material later in their career, there would be no turning back from the eclectic circus they have seen fit to ringmaster.
Of course, this album probably arrived at the expense of a segment of their fan base, who mourn the passing of the band's more familiar, Viking/black albums in the mid 90s, but what can we really expect? Enslaved is an intelligent band which seeks stimulation in molding their sound into new patterns, and that's never going to change. They're not likely to write Vikingligr Veldi Parts II through VI, unless they become overburdened with nostalgia, so it's time to get used to the idea, or pack up and move back into the cave. Personally, I am rather happy to have been along for this ride. There have been few bumps in the road, but most of their modern records are nothing short of brilliant. What's startling is that Mardraum features the same personnel as Blodhemn, yet the production feels much more grisly and organic, the songwriting hectic to the point that it feels nearly improvisational in some spots. The proficiency of musicians like Dirge Rep and Ivar Bjornson is put to the test here, not in technicality, but in their ability to fluidly expand themselves.
Mardraum can be jarring, and can be a little difficult to follow along when not in the proper head space. Nonetheless, what I've always enjoyed so much about this is just sticking to a particular guitar line and engaging in the sonic adventure, like the turbulent, arching guitars that penetrate the heart of the broad opener "Større enn Tid - Tyngre enn Natt". This is a 10 minute stretch in which the band throw out all manner of contrasts, from the airy, clean guitar intro, to the more savage, chug-based riffing to the enormous, melodic mid-paced bridge. They've even got some sequences of noisy guitars where the beat drops out completely. In addition to Grutle's familiar rasp, the band incorporates death metal growls throughout this piece for variation, and the final result is a beautiful mess. More disjointed than anything else on the album, but quite intriguing despite itself.
Like it's predecessor, Blodhemn, I found myself attracted to some of the shorter pieces on the album, where a smaller handful of ideas were explored to great effect. Among these are the thrashing, intense volley of "Dandnigekvida (Deadhymn)" with its wild lead, or the warlike churn of the title instrumental "Mardraum (Nightmare)" which involves all manner of raunchy, almost funked out guitars and textured melodies and vocals. Other highlights include "Krigaren eg Ikkje Kjende (Warrior Unknown)" for the soaring bridge vocals, or the harrowing "Stjerneheimen (Starhome)" which features some of the most psychotic and forceful riffing I've ever heard from this band. Any fears that the band might steer too far away from their parent genre are assuaged here, for Mardraum is primarily a pastiche of extreme metal genres, but this is very certainly NOT the more straightforward, structured entity of years flown by.
If there's a complaint here, it's that the explosive level of rhythmic chops and ideas on the album are often too much meat for its skeletal framework. I mentioned before that it's a beautiful mess, but I was partially lying: this is ugly as sin. Most of the catchier moments come strictly through the clean vocals, as many of the constantly mutating, colliding riffs are dissonant and unfriendly. This is not an album like Below the Lights or Vertebrae in which you can soothe yourself, but more a whirlwind of primordial chaos which spawns ideas. We've all heard crazier, I'm sure, but not from Enslaved. The lyrics rule, and I really liked the choice of raw production, the crashing bass tones and the intense drumming. It really fits the aimless anxiety of the composition, and ensures that once again, these Norwegians have produced a rather unique product that they themselves would not even be repeating, a thriving if dizzying monument to strength and entropy.
Mardraum - Beyond the Within was Enslaved's fifth full-length album and offered yet another reinvention and improvement of their already unique and mesmerizing style.
Overall, the lyrical concept of Mardraum brings to mind a Viking warrior who finds himself in a world where his familiar gods and culture are absent. He is confused and frightened by this unknown reality and begins questioning and re-evaluating his own identity and existence. This existential crisis could also be reflective of where Enslaved were at a creative standpoint at this time as this album stands enthralled upon the rainbow bridge between the vicious Viking metal onslaught of Blodhemn and the bizarre ethereal explorations of Monumension. As such, the chaos of Mardraum seems to represent Enslaved's own Gotterdammerung with its dissonant riffs, jagged rhythms, and soul-searching lyrics which led to their creative rebirth and progression as can be heard on their more recent albums.
"Storre enn Tid - Tyngre enn Natt" begins the CD with a jangly clean guitar melody that settles you into bliss until a harsh electric guitar riff startles you out of serenity only to be cut short before the clean guitar continues its lullaby. This brings to mind those occasions where you lie awake and sense yourself falling asleep only for your arm or leg to twitch just enough to shock you awake again. Soon, the electric guitars cut through the fluff to begin the song in earnest and thus conjure the nightmarish concept of this album. "Aeges Draum" begins with a groove reminiscent of the opening of Morbid Angel's "Dawn of the Angry" before morphing into a death metal assault. In an inexplicable shift at 1:11 this violent ecstasy becomes sullen apathy when the riffs make way for slow crashing chords as Grutle speaks in heroic clean vocals. As if that wasn't a dramatic enough change, an odd clean guitar segment plays a simple disjointed melody to further create a feeling of alienation. The song picks up again as waves of melody expand like heartbeats through a silent mosaic (the lyrics are great too) and leaves you guessing as to what Mardraum will explore next.
"Krigaren eg Ikkje Kjende" is the part of the story where the warrior confronts the shadow part of himself that he had avoided in previous songs as he attempts to slay an old man guarding a boat that he needs. Rich in symbolism, this is the song where it becomes apparent that all of the warrior's struggle has been internal and thus casts a new light on the psychological aspect of the lyrics in the previous songs. A restrained yet thrilling lead melody at 3:53 segues out of an equally rapturous clean vocal section before the song continues its earlier vein of brutality. "Stjerneheimen" then gallops and thrashes with passion and urgency before the soothing epilogue of "Froyas Smykke" brings this haunting, mystical journey to an end.
Enslaved's blistering execution of every aspect of the music is a monumental feat given the complexity of the strange accents in the riffs, thus the creativity required by the rhythm section to keep the songs flowing, and the raw emotion that must be conveyed in the performance to bring a concept as unpredictable as that on Mardraum to life. Weird, atmospheric, and brilliant, this is something that is not easy to understand upon the initial listen, but sounds better each time you hear it. Enslaved fans are already familiar with this wicked, distorted tower of an album, but if you're a fan of cryptic, mind-expanding, yet mighty metal and you haven't heard this yet, then this could be your new favorite CD.
Enslaved have always managed to kept themselves somewhat apart from the rest of Norway's metal scene thanks to a very skillful and original approach to their heavy art. Heralded among others as the forefathers of Viking Metal, the band took a more progressive direction with their 1996 offering "Eld" and the subsequent assault "Blodhemn", which also saw the band expanding to a four piece with the addition of guitarist Roy Kronheim and former Gehenna skinthrasher Dirge Rep. (now in Orcustus), along with founding members Ivar Bjørnson (guitars, keyboards and a whole lot of different stuff) and Grutle Kjellson (vocals and bass). The same line-up would resurface 2 years later as the winning team behind "Mardraum - Beyond The Within".
"Beyond" is indeed a term which suits the album pretty well. Beyond Black Metal, beyond Viking Metal, beyond Enslaved's previous outputs in any way. This is one of those albums which elude the grasp of any definition and stand tall and proud as something of their own. Obviously, the band took (yet another) considerable stylistic turn with this, and inevitably disappointed several long-time followers. However, "Mardraum" is not an album which should be easily overlooked.
Despite the severe musical detour Enslaved retained the old Icelandic language for their lyrics - except for one song - but once again they added English translations in the booklet - and an Icelandic translation for the English song. Great move, because these lyrics are worth much more than just a casual reading, dealing with abstract themes which fit the music perfectly. Enslaved have never been that "Hail Satan" kind of band, but this time they surpassed themselves.
And then there's the music, of course. The first word that comes into my mind to describe it is "otherworldly". Intricate, non-conventional, obscenely varied, this is art from beyond for the beyond.
"Mardraum" (which translates to "Nightmare") opens with the choing clean guitars of "Større enn tid - Tyngre enn natt" ("Larger than time - Heavier than night"), an immense epic which evolves several times in its first minutes alone before the "actual" song begins at around 4:30. Enslaved's trademark heaviness is brought to the extremes here, thanks to the top notch Abyss Studios production which gives an even sharper cutting edge to the guitars and power to the drums, leaving at the same time a distinct bass sound and the vocals just at the right level. Oh yes, the vocals. As the first verse kicks in, we are greeted by Grutle's dual voice chanting, which in turn switches to his trademark shriek, and then all over again, while the music paints a desolate landscape with an almost doomy palette, slow and incredibly heavy. Then comes the chorus, still slow but pushed forward by buzzsaw tremolos and double bass drum drive, with Grutle shining by turning his deep growl to a fierce scream at the very end of every verse, before the speed really grows for a powerful middle section, with the dirgelike slow tempo coming back in for the final. The song clocks in at some seconds over 10 minutes, but it's far from drawn out. In complete contrast, "Daudningekvida" ("Deadhymn") is a flat-out headbanger, completed by insane leads and a great work from Dirge Rep. In just two songs Enslaved have shown ideas and influences which would be enough for other bands to fill a full length. But it's only just begun...
"Entrance - Escape" ("Inngang - Flukt") is the only song with English lyrics, another slow and abstract epic with a percussion driven middle section and the Bjørnson - Kronheim duo experimenting a lot of guitar sounds and techniques, while Grutle shines both as a vocalist with his clever harmonizings (the song, although mostly instrumental, is sung entirely with clean vocals) and as a bassist, his distorted licks being the real subterrabean force beneath the cool surface of the song. "Ormgard" ("The Hive") opens with a bizarrely filtered intro to explode into a pummeling symphony for razor sharp strumming and more double bass earthquakes. "Aeges draum" ("Aege's dream") manages to create that unreal feeling by alternating aggressive assaults with sombre interludes; the contrast the band creates by turning a clean guitar riff to a full speed attack shows how much care Enslaved have put into arrangements as well as songwriting. The tile track comes next, a real nightmare for pounding percussions, fierce guitars and distant screams.
This abundance of experimentalism is counterbalanced by "Det endelege riket" ("The ending empire"), a groove injected crusher where Enslaved show they haven't lost their old drive, the excellent solo section after the second chorus being probably the catchiest moment "Mardraum" has to offer. "Ormgard II - Kvalt i kysk høgsong" ("The Hive II - Strangled by purity") continues the brutality, although it inevitably seems to lack a bit of a direction after the quite accessible "Det endelege riket", but it's a very well crafted number anyway. The brutal factor is brought at its peak by the blasting "Krigaren eg ikkje kjende" (translated as "Warrior unknown", although title literally means "Warrior I do / did not know", which fits the personal and inrospective nature of the lyrics better), which destroys anything in its way before giving may to more relaxed riffs and more clean chantings. "Stjerneheimen" ("Starhome") doesn't match the aggression of the previous numbers, relying more on its outworldly atmosphere although the rhythmic drive is extremely effective. The short and very good instrumental "Frøyas smykke" (Freya's necklace") ends the album with a further touch of melodic elegance.
What more could I say about one of the greatest albums I've ever heard? Approach with care, as it's of course very weirdand hard to get into, but don't skip it without some good listens; you'd be missing an unique experience.