Metal, Hardcore, Indie, Rock
Norwegian Viking and black metal veterans Enslaved return with “Mið“, an album that feels deeply connected to the cold coastlines and restless seas of their homeland. Originally formed in Haugesund before establishing themselves in Bergen, the band have spent decades shaping a sound that balances black metal’s raw intensity with progressive ambition.
Both cities know what it means to live alongside the northern reaches of the North Sea. Bitter winters, fierce winds and dark waters provide a fitting backdrop for Enslaved‘s music. Listening to “Mið”, I imagine a Viking crew aboard a snekkja, navigating stormy swells while preparing to face an approaching enemy fleet. The imagery may be ancient, but the emotions feel immediate.
Early influences such as Celtic Frost, Darkthrone and Slayer, alongside the distinctive approaches of Master’s Hammer and Rotting Christ, helped shape the band’s foundations. From their debut “Vikingligr Veldi” through “Blodhemn” and the more expansive “Isa”, Enslaved gradually broadened their arrangements and musical vocabulary without abandoning their identity. Their evolution has made room for atmosphere, melody and experimentation while retaining the teeth of their early work.
On first listen, “Mið” places the listener on a dark, icy coastline, with the storm gathering and the prospect of battle drawing closer. The first proper song, “I Am Ice”, makes it clear that Enslaved have lost none of their force. Yet beneath the aggression lies something deeper. The song’s shifts in intensity reveal an emotional undercurrent that continues throughout the record, sometimes immediately apparent and sometimes barely breaking the surface.
The guitars combine the murky, gravelly character of late-1990s and early-2000s metal with a sharper modern attack. They have weight and precision, but also enough texture to suggest something colder and more mysterious. Moments of dissonance create tension before resolving at exactly the right time. The result is music that communicates feeling without having to spell it out.
The bass has a substantial presence in the mix, sitting comfortably alongside the guitars while occasionally stepping forward with its own voice. Together with the drums, it drives the songs like oars cutting through rough water. At the heaviest moments, the percussion sounds almost like a ship crashing against the waves in the middle of a storm. These Vikings are in their element.
One of the album’s greatest strengths is its sense of space. Enslaved know when to attack at full speed and when to pull back, allowing a cleaner passage or a lingering note to carry the atmosphere. That restraint makes the heavier sections hit harder.
Placed near the middle of the album, “Spirit Helper” offers a welcome opportunity to breathe. I picture the crew finally reaching land and heading to a tavern for a night of drinking and singing. The chants grow louder, the celebration gathers momentum, and for a moment the battle seems far away. Yet the music never allows that sense of security to last forever.
Towards the end, “I Miðju” delivers another surge of brutal, sludgy intensity through the fog and stormy seas. Its eerie, almost calming guitar line is particularly effective, reminding us how confidently Enslaved can move between contrasting moods. After so many years together, the musicians seem to understand instinctively when a song needs force and when it needs room to breathe.
There is also something young musicians can learn from the way “Mið” sounds. To my ears, its power comes less from layers of studio embellishment than from the character of the riffs, the feel of the performances and the interaction between the instruments. At times, the music has the immediacy of musicians playing together in a room. Subtle overdubs and atmospheric synthesizers add colour without overwhelming the songs.
Above all, “Mið” feels purposeful. Its darkness, dynamics and sense of identity come across as the work of musicians who continue to explore their art rather than repeat a formula. There is an authenticity here that I sometimes miss in modern music.
Always be real. Keep working, keep practicing and keep searching for something worth expressing. The art never stops.
