On their tenth output (excluding the split-CDs and demos), ENSLAVED remained true to their band credo “demanding sounds meet rage meet seventies Progrock peripherally meet nineties Black Metal”. And thus, Vertebrae is composed through well thought-out and incommensurably demanding in the Black Metal genre, but always keeps reference to the basis in the corner of its eye by Grutle’s vocals. It was already clear from the outset that the Norwegians wouldn’t let you take the easy way out. Who among you is not familiar with ENSLAVED’s work might anxiously run away trying to understand what the band presents and requires from the listener with Vertebrae. Those among you, who, no matter, if coming from the Black Metal cellar or erring out of the Progressive Rock/Metal labyrinth, those, who know blinkers only being part of a harness, will grow with the current album of the Bergen-based band every time, the more you listen to it.
ENSLAVED focus on their odyssey on different musical stylistic devices than similar innovative bands such as Tool, Meshuggah or maybe Katatonia, too. You won’t find any polyrhythms here as well as mathematical formulas aren’t applied while composing. That is to say, the devil is in the details. You will find all but one simple powerchord on Vertebrae, but anytime complex chords with a partly jazzy character, no melodies according to the book (i.e. blues scales and whatnot). Rather you get the impression, that each note is arranged accurately and deliberately to the next. In doing so, the result seems anything but top-heavy. Each riff makes sense, no single note is redundant.
So far so good. Actually, a clear 10-point-album, you’d think. It definitely would have been so, if Grutle would perform the aggressive vocals a bit more varied and the production would kick more asses. The final result sounds almost a bit harmless compared to the mainly rough character of the compositions from the production’s point of view.