Many believe that there is an interstice between this world and the next. Some call it limbo, others refer to it as purgatory, and to many it is simply a passage that has never been taken before and never shall again. There is no definitive account of this frontier, but it doesn't mean that the ash-clad roads of those vacant lands are non-existent.

In some cultures there are those who have the perturbing, yet paramount task of escorting the departed to the other side in a ritual that shall guide their souls once they have left this world. It is crucial that their voyage is successful, and music is often an essential conduit in that transition."Skuggsjá" is not a glimpse into the afterlife, nor is it an invitation, but a legend about of those who are on familiar terms with the lands beyond, of the people who speak its language and sing its songs.

"Skuggsjá" is an elaborate record composed by Ivar Bjørnson and Einar Selvik and performed by members of ENSLAVED and WARDRUNA. I will not attempt to classify it under a particular genre for it much to eclectic and diverse to be subjected to that. Originally arranged as a concert piece, this epic blend of traditional Norse music and blackened Progressive Post-Metal dynamics is so grandiose in scope that it is difficult to approach this album with the methodologies of a typical review; I will not lie, this was a challenge - hence the extensive introduction.

"Skuggsjá" thrives on its atmospheric, cinematic sound. From the commencement of the title track it transfers you to the old country, to cool Nordic shores where the dragon-headed ships are returning from pillaging the unsuspecting lands. The pagan chanting of tracks like "Tore Hund", "Rop far Røynda/Mælt Fra Minne and "Kvervandi" invites you to ignite the torches, gather the folk and send the dead off in burning boats, to the halls of Valhalla; all before celebrating to "Vitkispa" and "Skuggeslåtten", which lift the drinking horns to the fallen, and praise the Gods who've protected the living and allowed them to return with riches.

The instrumentation is superb. The majority of the tracks employ traditional instruments like taglharpas, Kravik-lyres, goat-horns, birch-bark lures and bone-flutes along with a contemporary accompaniment - and even some overdriven guitar on "Makta Og Vanæra, For All Tid" and the aforementioned "Skuggeslåtten". Whilst the majority of the album is comprised of folk-influenced, ancestral arrangements, "Skuggsjá" does venture beyond its roots and into Post-Rock/Metal territory on tracks like "Bøn Om Ending, Bøn Om Byrjing" and  "Skuggeslåtten" all the while retaining the caress of those ritualistic, Nordic winds.

One of the main highlights of this record - beyond its triumphant instrumental achievements - are the vocals; performed entirely in the performers' native tongue. The haunting, choral arrangements that dominate this piece bathe you in chilling, yet beautiful prayers. There is a moment where the musicians attempt to infuse this opus with alternative, growling vocals - as heard on "Makta Og Vanæra, For All Tid" - and although they do add an elements of a seer speaking in tongues, they quickly realise that this is not the forum for such features. The production is a bit too shabby and raw in parts, and whilst that may in fact contribute a certain authenticity to it, it also occasionally robs the arrangements of their glory.

This record is very different; and it may not be for everyone. Yet for those connoisseurs of eclecticism, experimental musicianship and perhaps even world music, this is will be an interesting acquisition. "Skuggsjá" whispers with voices from the past and recites tales of lands beyond our understanding...urging you to listen to it.