Celebrating Norwegian black metal in Oslo – 1349, Mork, and Yr at Parkteatret

On Saturday 21 December, a wild storm of dark arts arose in Oslo, Norway. To end the year on an extraordinarily high note, the cozy and all-around well-functioning venue Parkteatret hosted not one but three Norwegian black metal acts. Headlined by 1349 (in the photo courtesy of Henrik Sander), whose ranks include Satyricon drummer Frost, the event left little to wish for. Yr and Mork had the honor of opening the evening.

Upon arriving at the venue, I quickly realized why I had heard such good talk about it. An intimate but not overtly tight space was the perfect backdrop for a black metal show of this kind. Because the floor was slightly slanted, it was much easier to see the stage than in most similar venues I’ve been to. As the evening progressed, it turned out that even the technical side was top-notch.

Yr made a great first impression with a grim but crushing sound that honors the genre’s traditions. I often find many newer black metal bands to sound too similar to their predecessors, but Yr’s sinister and sometimes even epic approach sounded fresh. The group was formed in 2021 and released its first EP “Maanelyst” this June, but displayed qualities some of the bigger names in the genre struggle with. 

The vocalist’s haunting screams may not be anything new, and you could easily trace the riffs and drums back to the genre’s origins, but the group’s energy on stage was remarkable. Earlier this year I witnessed a sadly lazy and routine-like performance by fellow Norwegians Gorgoroth, but Yr conveyed the energy of its music with utmost vigor. Yr may not be on the same level as Gaahl (ex-Gorgoroth, Trelldom, Gaahls Wyrd) or Kampfar, but I was greatly impressed by the relatively new and unknown act.

Music-wise, Yr’s output was relatively dynamic. Even so, I found the crushing slower sections the best by far. Another highlight was a doom metal-esque bass solo, which was just one of the examples of how the band broke free of the sometimes too-strict boundaries of traditional black metal. Ultimately, my only real complaint was that the songs and the performance reached their potential somewhat late into the gig. But those moments will stay with me. As a cool bonus, the violent and epic black metal was balanced by haunting ambiance and industrial beats that were so good I would have loved the show even without the black metal. Interestingly enough, Yr has only two official members but was complemented by three live musicians with great results.

After Yr, it was time to welcome a more seasoned black metal entity, Mork, to the stage. Founded in 2004 by the sole official member Thomas Eriksen, Mork has struck a nearly perfect balance between honoring legends like Darkthrone and giving the old traditions a new twist. In September, this was once again demonstrated by the band’s seventh full-length album “Syv”, which has received international praise. 

The Danish black metal band Afsky was originally supposed to play this slot, but once Mork’s raw but beautiful black metal winds howled through the candle-lit stage, few seemed disappointed. The buzzing, melancholic guitar melodies shined in all their glory as the band’s minimalistic art stopped time itself. Eriksen’s varied but constantly top-notch vocal delivery complemented the music perfectly, and together with his three live musicians, he ruled the stage in a way I have rarely witnessed. Selective and sparing in their words, the musicians let their mesmerizing art do the talking for the most part.

The masterfully crafted setlist consisted of highlights all the way from the “Rota Til Ondskap” demo compilation (2007) to the latest album. Even though traditional black metal can be monotonous, Mork’s setlist dynamically shifted between slower and more somber numbers and full-on blasting. Despite carrying some of the rawness of “Transilvanian Hunger”, Mork’s music is filled with astonishing nuances like folk-esque melodies and melancholic clean vocals, all performed with admirable musicianship and at the right moments.

The only thing that somewhat hindered the gig for me is that it wasn’t long ago that I witnessed a longer and even better se from the band at John Dee, Oslo. On that particular headline show, we were treated to the beautiful acoustic piece “Omme” and a live violinist, all adding to the melancholic and somber soundscape. But for such a short slot, Mork warmed up for 1349 in a manner that is difficult to top.

Despite being one of the bigger names in the Norwegian black metal scene, 1349 has never fully struck me as something special. Drummer Frost, also of Satyricon fame, is one of the best drummers out there, but I have felt that 1349 treads too close to a path already perfected by others. Named after the year the black plague came to Norway, the band returned to its hometown with great applause. Even though 1349 headlined the Orgivm Satanicvm festival in January 2024 and is one of the headliners of the Inferno Metal Festival next April, there clearly was a further demand for “aural hellfire”, as the group describes its art.

Most of my skepticism was washed away as the band entered the stage. Bearing the traditional look of corpse paint, black clothing, and studs, the group started the show with fire-breathing before unleashing its reckless music. As often with great drummers, Frost’s dynamic but hectic performance was too catchy not to enjoy the music. The band was formed in 1997 and has released eight full-length albums so far, and this experience shined through in a most inspiring way. Whether talking about vocalist Ravn’s vicious and surprisingly varied delivery or the tight rhythm section and riffing, the band appeared much more evocative and explosive on stage than on albums. 

That said, I was positively surprised to find several highlights among the setlist. It was as if I needed to experience 1349 live to appreciate the music properly. “God Devourer”, the opening track of the latest album “The Wolf & the King”, left me in awe with its violent riffs and catchy chorus. “Blood is the Mortar”, on the other hand, was a great example of the band adding more dynamics to the tried and true formula. Ceremonial clean vocals and thrash metal-esque breakdowns were also applied with good taste and results. Several songs were coated with guitar solos that reminded me of the screaming licks of classic Slayer. The perhaps most famous 1349 song “I Am Abomination” was also excellently brought to life.

Despite finding most of 1349’s records rather bland, I can’t help but admire the energy the group conjured on stage. When they returned for the encore, a choir of black metal-hungry people howled and screamed like there was no tomorrow. The songs may not have been as varied as Mork’s, but tastefully applied small nuances, and Frost’s incredible drum patterns made sure this was a gig to remember. I’m still blown away by the fact that people can play this kind of music for over an hour with such intensity. 

Now to wait for the group’s show at the Inferno Metal Festival and the next opportunity to experience black metal gigs at this wonderful venue. Luckily, the latter wish will be fulfilled this weekend, when the Orgivm Satanicvm festival brings bands like Hellripper and Mortuary Drape to Parkteatert. Huge thanks to everyone who contributed to the great night!