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Data di uscita: 14 gennaio 2022
formato: DIGI CD
It is never easy to follow up with another album, especially considering the impact made by the complex wild flight of musical fantasy of "La Masquerade Infernale". ARCTURUS elegantly solved this conundrum by releasing the comparatively more straightforward third full-length, "The Sham Mirrors" in 2002. This does not mean that the Norwegians had lost their appetite for experiments. The vocals by Garm (ULVER) are more soaring and wide-ranging than ever on this release, while main man Steinar "Sverd" Johnsen keeps adding classic prog rock excursions to his repertoire. Yet, the guitars are more often set to a more conventional metal mode on "The Sham Mirrors". Still complex, still avant-garde, ARCTURUS clearly consolidated their compositions on "The Sham Mirrors" and while still using many sonic elements, those rather serve each individual song than try to stick out.
In 2002 Arcturus managed to astonish and surprise again with "The Sham Mirrors". Abiding by the motto 'expect the unexpected', they created an opus that shows their musical and song-writing comprehension and ability once more, while at the same time it is accessible to an unexpected degree.
Having grown out of the Norwegian Death Metal band MORTEM, ARCTURUS emerged under the irresistible influence of Oslo's creatively bursting and fast rising underground black metal scene officially with the two-track 7" "My Angel" (1991). With then-guitarist and formidable keyboard player Sverd and MAYHEM drum-beast Hellhammer at its core, vocals were first contributed by Marius Vold, who also sang on the legendary THORNS demo "The Thule Tape". While still very much influenced by death metal, the addition of doom-laden slowness and eerie keyboards already pointed into a far blacker cosmos. On the four tracks of the original 1994 "Constellation" EP, ULVER's Garm had taken over the vocal duties and Samoth from EMPEROR had joined the band on guitar. Yet, ARCTURUS already went off the (in reality quite wide-ranged) black metal norms mainly due to Sverd's keyboard arrangements that were pre-shadowing the trademark theatrical or circus-like style the Norwegians adopted on their following albums.