[Cover artwork by Old Hag]
When I initially realized that Arckanum’s first album after a long hiatus—and, technically, its breakup—would be released on All Hallows’ Eve, I devised this rather cutesy and far-fetched idea to compare the entire album to a horror movie. Upon hearing it a few times, the movie that came to mind was actually my personal favorite, An American Werewolf in London. The truth is, I wrestled with the album’s very challenging sequencing much like David Kessler wrestles with his own metamorphosis in the 97-minute classic. However, once I made peace with the decisions Arckanum’s sole member Shamaatae made, comparing the two pieces of artwork actually felt rather apt. Before we get to all that, let’s answer some quick-draw questions.
Next is the question of whether Beswærilsin touches the classic status of albums like Kostogher, Kampen, and Anticosmos. My inclination is to lean toward “no,” but more so because Beswærilsin is a bit more like ÞÞÞÞÞÞÞÞÞÞÞ in that it contains a bit of everything fans love about Arckanum, as opposed to presenting any vastly new ideas. So… there’s no reinventing any wheels here, but we’re still riding the same flaming chariot that lights up the night sky, and this time it has a pretty slick new paint job.
Finally, the answer to the question, “What is special about this album and why should I buy it?” Well, if you’re a collector of Arckanum’s music already, then you probably already own it. Darkness Shall Rise Productions did an absolutely fantastic job handling its promotion and merchandising, so the temptation might have been too great to resist, just as it was for yours truly. If you still need to be convinced, be it because of four straight albums of “I don’t really need to own this,” or simply not being super familiar with Arckanum’s music in general, the answer is that Beswærilsin is one of the year’s best black metal releases, period.
Now, if you’ll permit me, I’d like to embark on the journey that is the processing of Beswærilsin to An American Werewolf in London, and I apologize in advance if this takes away from the sincerity of Shamaatae’s valiant comeback effort. My intent isn’t to parody something clearly presented solemnly, but rather to enhance it.
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Part I – Wherein David Kessler and Jack Goodman, having just graduated, were on top of the world.
What could be better than exploring a new land with your best friend by your side? “Mz Fianda Rathi” opens with all the swagger and confidence in the world. Shamaatae’s drumming is absolutely at the pinnacle of its existence. The tribal elements are more confident than they’ve ever been, and the riffing is sharp, emotional, and poignant. There’s a sharp foreshadowing near the end of the opening track that gives listeners some insight into the foreboding tragedy about to occur. Confident melancholy, as it were.
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Part II – Whereon the bloody ground your best friend’s corpse was found.
You are running for your life against forces attempting to alter it forever. Adrenaline keeps you afloat as you fight, but forces older than nature itself work against you. It’s very clear that, in addition to the standard black metal instruments, Shamaatae has been practicing with many traditionally Nordic, or native instruments as well. He paints with broad emotional strokes without sacrificing the intensity of the moment. He builds suspense even when the decibel level drops drastically. Until tragedy strikes and your best friend is taken from you.
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Part III – Denial
The doomier side of Arckanum kicks in, with slow, prodding tremors, as you wake up in the hospital attempting to put the pieces together. How can life have changed so drastically? What was done to deserve this? “Wilianz Kniwer” is the grand leveler: waking up in the hospital and realizing that the “on top of the world” feeling was mere hubris.
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Part IV – Self Doubt
An apparition in the form of your deceased friend tells you that you are now a werewolf and need to kill yourself and sever the bloodline of the one who attacked you. “Rymz Rand” closes out the opening quadrant of the album with a bit more of the same gallop and hard hitting doomy nature of the tracks that precede it. Whether or not it was intended, the first four tracks of the album feel very much like the traveler embarking on a journey. They flow together well, and can be enjoyed as part of the whole that is Beswærilsin, or simply on their own. Old Arckanum is back like an old carpenter returning to the forest, but this time with some new, sharpened tools.
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Parts V and VI – Wherein David struggles to accept his fate and grasps desperately for his innocence to return.
Both “Gyghra Hirthi” and “Eldstenz Fro” would not be as challenging if they weren’t smack-dab in the centerpiece of the album. The former track contains no drumming at all, and feels a bit like an atmospheric interlude that arrives a bit earlier than usual for this type of album. In the case of ÞÞÞÞÞÞÞÞÞÞÞ, the album’s elongated interlude was perhaps the centerpiece of the album. It contained all of the magic that transformed the six preceding tracks into more than mere black metal songs. “Gyghra Hirthi,” at first, feels like a wind tunnel that deflates the album, but after a while, and certainly in the context of David Kessler, it feels like some inner transformation is going on. “Eldstenz Fro” kicks things back into high-gear again, but only momentarily. And then begins the scene that won the very first Oscar for the horror category of filmmaking. Indeed, when David turns into the werewolf, it is perhaps the most exciting part of the film, however, watching a metamorphosis on film is nothing like going through it. If viewers were to empathize more with David during the moment he transforms, I believe the vibe would be quite similar to the turn that “Eldstenz Fro” takes when it slows down.
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Part VII – Wherein David is out for blood.
“Withirskapit” kicks off the album’s third quarter with some of the best displays of Shamaatae’s musicianship yet. His drumming is incredibly tight, and the song builds toward an elongated solo amidst continuous crescendos of drums and tremolo picking. Oddly enough, the track nearly feels like the album’s third consecutive interlude, but the ferocity presented here is much like a lead character succumbing to his own bloodlust.
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Part VIII – Wherein David recognizes and accepts his true nature.
Now coming full circle, the album’s eighth track contains much of the same confident swagger as “Mz Fianda Rathi,” but without any of the more triumphant-sounding melodies. “Skaepna Aer Krigh” is upbeat, yet cold and menacing. If the album were a person, it would be looking in the mirror and seeing its true self for the first time since the great transformation began. This is where I’d imagine Shamaatae, who has been Johan Lahger’s alter-ego since he began the project, takes off his mask and gloves, and gives us a piece of his true self. If you are a completist when it comes to Arckanum albums, this next part will feel very different for you, as I can’t recall a more profoundly human moment on any previous release.
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Part IX – Wherein David draws on powers greater than his own.
“Anskoti” is an unexpected highlight of Arckanum’s tenth album. It is, perhaps, the album’s apex, and yet the reason why is somewhat confounding. Lahger recites a prayer for most of it, and although I do not fully understand the magic, or Thursian powers upon which he draws, I believe it is very real for him. The ability to draw on unexplained powers or forces resides in all humans, I believe, but few know how to use them. For David Kessler, I believe the moment of clarity for him comes when he calls his family to tell them that he loves them. For me, personally, whenever I feel self-doubt, the questions always revolve around whether or not I’m a blessing or a burden to those around me. These thoughts aren’t always rooted in sadness; they can sometimes be rather pragmatic. These are difficult times in today’s world. Would the money my family received from a life insurance policy make them happier than having me around all the time? It’s not a question I like to dwell on, but it arises in my thoughts, as I’m sure it does in all of us who are often slapped around by our own empathy from time to time. If you’ll allow me, a quote from my favorite living author, Steven Erikson: “Who is the enemy? The enemy is surrender. Where is the battlefield? In the heart of despair. How is victory won? It lies within reach. All you need do is choose to recognize it.” Lahger, in this most unique album highlight, draws on the strength of his own magic system here. I don’t understand what he’s saying. I don’t want to attempt to understand what he’s saying. I can feel what he’s saying. Within “Anskoti” lies a powerful message.
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Parts X and XI – Resolution
The album’s final two tracks both feel like post-climax outros, sounding very much like standard Arckanum interludes. They’re a good comedown for a longer and challenging album, which only falls about thirty minutes short of An American Werewolf in London itself!
A final note about the interesting scene that is Swedish black metal in general: it has always defied the notion that single-member black metal projects are rarely good ideas, or ideas that can sustain themselves for very long. We obviously started with Bathory, and the two living legends keeping Quorthon’s rugged individualism alive are Ornias, of Svartsyn, and Shamaatae, of Arckanum. It is unfortunate that they are not nearly as popular as they deserve to be—certainly more so than much of the commercialized style of black metal that Sweden has always produced. But what makes Swedish musicians so capable of going it alone? Is it the government-subsidized musical training and the ability to learn many instruments at a young age? Is the economy just strong enough that adults can take the time to get this good at everything? Whatever is in the water over there is certainly working. Obviously, few albums are ever really produced 100% alone, and I’d be remiss if I failed to mention how swell a job Erik Mårtensson did on the album’s mastering, engineering, and mixing. Hopefully Johan and Erik get along well, because I’d love to hear what they’re capable of next time.
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