Ansur
Warring Factions

Two years after the interesting, albeit perhaps overly complex "Axiom," the Ansur return in 2008, a Norwegian band that since 2005, the year of the release of the demo "Carved In Flash," has been trying to emerge from anonymity, offering increasingly unusual music. Although connected to the post-black metal genre (to find a comparison, think, for example, of bands like Ved Buens Ende), they tend to incorporate progressive, jazz elements, and rarely venture into new-age territories.
"Warring Factions," as the album is titled, sounds already from the first listen much more dynamic and melodic compared to previous productions, showcasing the more progressive and refined side of the Norwegian combo, rather than the post-black side that they had previously gravitated towards.

Consisting of 7 lengthy songs, "Warring Factions," starts from the very first notes by stepping on the gas pedal but in a rather atypical manner: "The Tunguska Incident," the album’s opening track, is introduced by an arpeggio that closely resembles the works of the much more renowned Orphaned Land, then explodes into a piece bordering on prog metal, taking exceptionally violent turns for the genre, thanks to the truly aggressive interpretation of the vocalist. However, just when you think you've understood where the song is heading, the trio violently swerves, treading on territories clearly inspired by fusion music, where the saxophone and the delicate guitar intertwinings by Nipe take the lead.

Next comes "Sierra Day," the shortest song on the album, which, in just under six minutes, manages to encapsulate the entire Ansurian philosophy: electrical and "aggressive" parts alternate with extremely atmospheric moments riding between U2-like melodies (the riffs seem to be played by The Edge's angry alter ego) and vintage progressive rock. The work of the rhythm section is particularly noteworthy, truly exceptional, varied, and continuously evolving, managing in its progressiveness not to appear pompous or unnecessarily elaborate, but it’s also the guitar section's work in the instrumental parts of the piece that makes "Sierra Day" even more fascinating.

As you continue to listen, you find pieces that lean much more towards the band’s black past like the following "Phobos Anomaly," featuring decidedly more aggressive riffs, yet remaining in a very melodic perspective, or even the oriental/country suite "An Exercise In The Depth Of Fields," which is absolutely delightful in its evolutions.

However, within all this gold, there are episodes that are slightly less successful, like the too-classic "At His Wit's End," which, while not unpleasant, feels perhaps too out of context due to its excessive linearity, being excessively anchored to prog metal clichés, or the subsequent "Cloudscaper," which is truly unsuccessful and uninviting.
The applause-worthy closure is the suite "Prime Warring Eschatologist," which reconnects to the discourse started with the first three tracks, developing it in an even more elegant and elaborate manner, sometimes aggressive, occasionally almost amelodic, and at other times beautifully delicate and ethereal (notably the piano solo possesses a melancholic vein, further emphasized by the classical guitar's intervention).

This is how an album that shows a band at the height of their powers ends, capable of "birthing" a complex album that is difficult to assimilate, but does not feel overly contrived or fake; moreover, "Warring Factions" reveals a sweeter and less aggressive Ansur, and this side is more appealing, either because in the more violent passages they could easily get lost, or, more simply, because in this light they have a charm all their own. The fact remains that this time, despite a few small details still needing refinement, the Drammen trio has composed a truly delightful album that can be listened to not once, not twice, not three times, but many, many more.