Born in the town of Notodden, Norway, Tveitan began playing piano at seven and guitar at ten and began recording songs shortly thereafter. His influences range from heavy metal, classical, ambient and techno. He grew up on a large farm in rural Norway.
Tveitan first met his partner in numerous musical projects, Tomas Thormodsæter Haugen (a.k.a. Samoth) at the age of thirteen at a music seminar. Tveitan gained Haugen's attention with his Iron Maiden patches. In 1991 they formed Thou Shalt Suffer together, a death/black metal band where Tveitan was guitarist and keyboardist. They produced several releases before Haugen left the band. Tveitan was left as the only member of the band and continues it to this day as a side-project. Unlike his solo work under his own name, Ihsahn's latest compositions for Thou Shalt Suffer are predominately keyboard-based and more classical in nature and influence.
After Haugen's departure from Thou Shalt suffer, the two formed Emperor where Tveitan again played guitar and provided vocals and keyboards. Emperor had a much more refined black metal sound which showcased Tveitan's developing keyboard sound, a distinct feature that would appear in his later releases. The band at this time received much support and encouragement from black metal pioneer Euronymous (member of the black metal band Mayhem) and after several demos, In the Nightside Eclipse was released to much acclaim.
Shortly thereafter, bandmates Haugen and Bård Eithun (a.k.a. Faust) were arrested and imprisoned leaving Tveitan to his own devices. He retreated to a property owned by his family to compose much of what would later become Anthems to the Welkin at Dusk, which was recorded after the parole of Haugen.
In 1995 the cult album Blood Must Be Shed from Zyklon-B was released featuring members of Emperor and Satyricon, with Tveitan on synth. In 1998 Tveitan formed, along with his wife Heidi Tveitan (a.k.a. Ihriel), the highly experimental project Peccatum. In 1999 Emperor released IX Equilibrium.
Peccatum would feature his trademark synth sound as well as clean and black vocals. Over the years Peccatum has released five albums and EPs and was Tveitan's main project until the project was ended in early March 2006.
In 2001, the final Emperor album was realesed. A studio album, Prometheus: The Discipline of Fire & Demise was entirely composed by Tveitan and featured much more complex melodies than previous works. It had significantly less synth than before. It was at this time Emperor mutually decided to dissolve, leaving the band with more time to focus on side projects.
On September 30th 2005, Emperor made a surprise return at Scream's 15-year anniversary party in Oslo at the Rockefeller. The move was kept top secret, was only known by a handful of people, and they played three songs only. This was to announce the reuniting of the band for a few shows around Europe and America in 2006, namely at the Wacken Open Air festival and Inferno Festival.
His first solo album The Adversary was released in April 2006. All work was done by him with the exception of percussion, which was done by Asgeir Mickelson (Borknagar, Vintersorg and others). It showcases his progressive influences as well as heavy metal, black metal and classical music. The album was recorded at Symphonique Studios in Norway and is to be released on his label Mnemosyne Productions, which was formed in 2003 with Ihriel. A video accompanies the track Invocation.
As well as being a talented musician, Tveitan is also a capable artist and once considered doing the artwork for a Thou Shalt Suffer album. He presently lives in Notodden, Norway with his wife and one dog, an Akita Inu. He also teaches music at the local school.
From Official Myspace:
Just thirty years of age, Ihsahn has traveled far beyond his rural beginnings. In little more than a decade, the largely self-taught musician has amassed a resume that when combined exceeds more than three quarters of a million worldwide album sales. His cumulative professional accolades include a 2001 Spelleman (Norwegian Grammy) Award nomination, 2003 Notodden City Cultural Award, and countless "Best of" class honors in internationally respected metal and rock magazines including Terrorizer, Metal Maniacs, Revolver, Kerrang!, Guitar World and many more. Now with The Adversary, the former Emperor vocalist/guitarist steps outside the comforts of an ensemble or collaboration and commands for the first time his most challenging project - a solo album.
He also contributed vocals on Devin Townsend Project's album, Deconstruction.
Discography:
Thou Shalt Suffer:
1991 - Into the Woods of Belial (Demo)
1991 - Open the Mysteries of Your Creation (Demo)
1997 - Into the Woods of Belial (Compilation), (Re-issued 2004)
2000 - Somnium
Emperor:
Full Length:
1994 - In the Nightside Eclipse
1997 - Anthems to the Welkin at Dusk
1999 - IX Equilibrium
2001 - Prometheus: The Discipline of Fire & Demise
Live Albums:
2000 - Emperial Live Ceremony
Compilation Albums:
1998 - Wrath of the Tyrant
2001 - Emperial Vinyl Presentation
2003 - Scattered Ashes: A Decade of Emperial Wrath
Split Albums:
1993 - Emperor / Hordanes Land - Split with Enslaved
1999 - Thorns vs. Emperor - Split with Thorns
2000 - True Kings of Norway - Split with Immortal, Dimmu Borgir, Ancient and Arcturus
Singles/EPs:
1993 - Emperor
1994 - As the Shadows Rise
1996 - Reverence
Demos/Promos:
1992 - Wrath of the Tyrant
Bootlegs:
1995 - A Midsummer Night's Dream
1997 - Conquering Europe
1999 - Live in Frostland
Videography:
1997 - The Loss and Curse of Reverence (Promo Video)
2000 - Emperial Live Ceremony (VHS/DVD)
2001 - Empty (Promo Video)
Peccatum:
1999 - Strangling from Within
2000 - Oh, My Regrets (EP)
2001 - Amor Fati
2004 - Lost in Reverie
2005 - The Moribund People (EP)
Ihsahn: (Solo-albums)
2006 - The Adversary
2008 - Angl
2010 - After
2012 - Eremita
2013 - Das Seelnbrechen
2016 - Arktis
2018 - ÀMR
Hardingrock:
2007 - Grimen
Guest appearances and session:
1995 - Ildjarn - Det Frysende Nordariket (Session vocals on various tracks)
1995 - Wongraven - Fjelltronen (Session synth)
1995 - Zyklon-B - Blood Must Be Shed (Session synth and guitar)
1998 - Ulver - Themes from William Blake's The Marriage of Heaven & Hell (Guest vocals on A Song of Liberty)
2002 - Arcturus - The Sham Mirrors (Guest vocals on Radical Cut)
2002 - Star of Ash - Iter.Viator. (Various roles including guitar and bass duties)
2011 - Devin Townsend Project - Deconstruction (Guest vocals on Juular)
2012 - Jeff Loomis - Plains Of Oblivion (Guest vocals on Surrender)
Undercurrent
Ihsahn Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Blurred reflection
Heaven's mirror
Calm awaiting
Like glass until it breaks
Like glass until it breaks
Pressing void
Moving shadows
In the melody
Like glass until it breaks
Like glass until it breaks
No ships set sail on this ocean
No longing gaze from the shores
No screams drowning in (septic) storm
But echoes of remorse
A formless drift was sculpture
Sorrow bound, the sunken tower
World is broken
Long lost kingdom
This wrecking Atlantis
Now beyond the prominent sun
The call of crystal waves
The (crops) of crimson fire
As the ocean drinks the sun
Deep deep down
The mouth of pandemonium opens wide
Deep deep down
Where there's 'naught but pain
Where there's 'naught but pain
'naught but pain
'naught but pain
'naught but pain
The lyrics to Ihsahn's song "Undercurrent" suggest a deeper meaning beyond just the surface level. The first stanza describes a serene scene of a "quiet surface" and a "heaven's mirror," but it is followed by an acknowledgement that everything is fragile and can break like glass. This idea of fragility is also present in the second stanza, which describes a peaceful silence but notes the pressing void and moving shadows as part of the melody. These contrasting ideas of calm and uneasiness come together to create a sense of tension and impermanence.
The third stanza takes a darker turn, describing an ocean with no ships or longing gazes, but rather echoes of remorse. The idea of loss and sorrow becomes more prominent with the lines, "A formless drift was sculpture/Sorrow bound, the sunken tower." The following lines, "World is broken/Long lost kingdom/This wrecking Atlantis," paint a picture of a fallen world or civilization. The final stanza includes vivid imagery of the mouth of pandemonium opening wide in the depths of the ocean, where there is nothing but pain.
Overall, the lyrics of "Undercurrent" convey a sense of transience and uncertainty, while also exploring themes of loss and darkness.
Line by Line Meaning
Quiet surface
The surface of the ocean is still and quiet
Blurred reflection
The reflection of the sky in the ocean's surface is blurry
Heaven's mirror
The ocean is a reflection of the sky, like a mirror
Calm awaiting
The ocean is waiting for something to happen in a calm manner
Like glass until it breaks
The calm ocean is like a piece of glass that will shatter if disturbed
Peaceful silence
The quiet of the ocean is peaceful
Pressing void
The stillness of the ocean creates a feeling of emptiness
Moving shadows
The shadows of the clouds move across the surface of the ocean
In the melody
The ocean creates a melody with its sounds and movements
No ships set sail on this ocean
There are no ships currently sailing on this ocean
No longing gaze from the shores
No one is waiting on the shore for ships to arrive
No screams drowning in (septic) storm
There are no screams from people in a storm on the ocean
But echoes of remorse
The ocean echoes with feelings of regret
A formless drift was sculpture
The ocean's movements and shape can create a beautiful, fluid sculpture
Sorrow bound, the sunken tower
The ocean holds the remnants of a sunken tower that is now associated with grief
World is broken
The world is not perfect and has its flaws
Long lost kingdom
There was once a kingdom that was lost and now forgotten
This wrecking Atlantis
The ocean is like the legendary sunken city of Atlantis
Now beyond the prominent sun
The ocean is beyond the sun's reach
The call of crystal waves
The sound of the ocean's waves is clear and pure, like crystal
The (crops) of crimson fire
The ocean reflects the red colors of the sunset like a crop of fire
As the ocean drinks the sun
The sun sets into the ocean, like it is being consumed
Deep deep down
In the depths of the ocean
The mouth of pandemonium opens wide
The depths of the ocean can be a place of chaos and disorder
Where there's 'naught but pain
The depths of the ocean is a place of suffering and sorrow
Where there's 'naught but pain
The depths of the ocean is a place of suffering and sorrow
'naught but pain
The depths of the ocean is a place of severe pain and hopelessness
'naught but pain
The depths of the ocean is a place of severe pain and hopelessness
'naught but pain
The depths of the ocean is a place of severe pain and hopelessness
Contributed by Christopher C. Suggest a correction in the comments below.
COUNT GRIM SET
[Verse 1]
Quiet surface
Blurred reflection
Heaven's mirror
Calm awaiting
[Refrain]
Like glass until it breaks
Like glass until it breaks
[Verse 2]
Peaceful silence
Pressing void
Moving shadows
In the melody
[Refrain]
Like glass until it breaks
Like glass until it breaks
[Verse 3]
No ships set sail on this ocean
No longing gaze from the shores
No screams drowning in septic storm
But echoes of remorse
[Verse 4]
A formless drift was sculpture
Sorrow bound, the sunken tower
World is broken, long lost kingdom
This wrecking Atlantis
[Verse 5]
Now beyond the prominent sun
The call of crystal waves
The crops of crimson fire
As the ocean drinks the sun
[Verse 6]
Deep, deep down
The mouth of pandemonium opens wide
Deep deep down
When it's not that beast
When it's not that beast
Not that beast
Terence Aaron
Ihsahn is a madman. His talent in blending genres (Jazz, Prog, Black Metal) is phenomenal.
U.V. S.
Andy Rehfeld?
Justin Turnbow
Friggin rights! I wish him and Maynard would do somethin...
Johannes Hellstrand Frøshaug
love the album after. the songs "On the Shores", "Undercurrent" and "The Barren Lands" are insane!!
Proud Heretic
I just bought this album last week, and I love it. One of my favorite things about this album is that even though the saxophone is nearly unheard of in todays music, especially in black metal, it's not a gimmick. The saxophone is treated with respect, and used well. The leitmotif really ties the album together.
DesecrationSmile52
Ihsahn's solo albums are amazing, and this one is insane. I love the saxophone work; it's so different than what everybody else is doing but it works so well and adds so much. And yes, this should have a million views.
antonio610
Damnit Ihsahn, I bought the album just so I could finally see the lyrics, and there's no freaking lyrics.
COUNT GRIM SET
[Verse 1]
Quiet surface
Blurred reflection
Heaven's mirror
Calm awaiting
[Refrain]
Like glass until it breaks
Like glass until it breaks
[Verse 2]
Peaceful silence
Pressing void
Moving shadows
In the melody
[Refrain]
Like glass until it breaks
Like glass until it breaks
[Verse 3]
No ships set sail on this ocean
No longing gaze from the shores
No screams drowning in septic storm
But echoes of remorse
[Verse 4]
A formless drift was sculpture
Sorrow bound, the sunken tower
World is broken, long lost kingdom
This wrecking Atlantis
[Verse 5]
Now beyond the prominent sun
The call of crystal waves
The crops of crimson fire
As the ocean drinks the sun
[Verse 6]
Deep, deep down
The mouth of pandemonium opens wide
Deep deep down
When it's not that beast
When it's not that beast
Not that beast
- The1trueharf -
5:34 Some of those fast riffs that hurt to much when I played them. 😹 This song built my strength for lower strings for sure. 🤘
Vincent Twitchell
One of the most beautifully written and performed songs I have had the priviledge of listening to. I have been a fan of Ihsahn's work for over a decade, but he is truly at the apex of his talent on this album. Not to downplay his other work, but everything comes together so well on this one. Too bad there are no lyrics available...