Fifteen years and five albums for Nattverd.
In 2025, Ormr (vocals, Nordjevel, Doedsvangr) and Atyr (guitar), accompanied by Sveinr (bass, Nordjevel, Nebular Mystic, ex-Ragnarok), Aven (guitar, Noxium Ferus) and Renton (drums, Trollfest, ex-Sarkom, ex-Urgehal) unveil their new album Tidloes naadesloes on Soulseller Records.
They are joined on vocals by Hoest (Taake, Deathcult, live for Gorgoroth) for a few tracks.
The band attacks without delay with Iskalde horn and its uncompromising rhythm that perfectly captures all the combo’s rage in the company of their guest. The sound is as icy as unhealthy, with every harmonic and every death-smelling howl, but the musicians also know how to temporize with this slower final that leads into Doedsfugl, where the sound becomes heavier, placing ominous tones like this short lullaby lost in the darkness. Von Hellreich (Slagmaur) joins the musicians to add his touch of oppression to the slowness, which is followed by For Aa Kunne Bli Doedt where we find pure rage, but also this melodious break where a sampled voice soothes our spirit before abandoning ourselves once again to violence. Hvisk Deg Vekk follows with a similar fury rooted in the band’s Norwegian roots, but there’s also some more airy dissonance before Raate Og Raatt goes next with a more suffocating approach, complemented by stinging leads. Hoest is also on board to add its darkness to the slowness, but De Sviande Ord Vaagar Ikje For Sitt Liv debuts and imposes its own massive riffs within which the term “coldness” takes on its full meaning. More energetic moments are thrown in to punctuate the long composition, followed by a few gentle spikes, before Udyr in turn takes us into its surge of cutting harmonics, where wild roots once again run rampant. This same aggressiveness is echoed on Med Kniven I Oeyet, with its raw blast on which the vocalist unleashes his fury while his comrades bludgeon their instruments. They then reunite with Hoest to tackle the work of Dødheimsgard, covering Naar Vi Har Dolket Guds Hjerte from their first album, where blasphemy is more than present, just like on Nattverd. The performance pays homage to the title before moving on to Ens Egen Grav, where the heady atmosphere becomes almost solemn as the misty voice appears, leaving the waves of violence their usual place until this disturbing final.
Nattverd still embodies the essence of Norwegian Black Metal, the kind that is unhealthy and terrifies us with its aura, but also with its coldness. Sometimes ethereal, but always brutal, Tidloes Naadesloes will have no trouble convincing its audience.
95/100