No rest for Mork.
Barely has their previous album been properly promoted, and the project led by Thomas Eriksen (guitar/vocals/bass, The Deathtrip, Udåd) is already releasing an eighth album, titled Monolitt, in collaboration with Peaceville Records.
Notable contributions include Asgeir Mickelson (drums, God of Atheists, Veil of Secrets, ex-Borknagar, ex-Ihsahn…) on drums and Øyvind Kaslegard (Disintegration, Svart Lotus) on backing vocals.
The album opens at full speed with the icy Under Vekten Av Verden, a track that effortlessly shifts from aggressive passages to majestic sections before naturally returning to the other extreme with a touch of dissonance characteristic of its Norwegian roots. The raw vocal parts are complemented by a few menacing choruses, but the mix is cohesive, even offering haunting harmonies to captivate our minds before moving on to Ødelagt, where the assault resumes with renewed vigor. A few haunting touches blend seamlessly with the waves of raw fury, sometimes creating a stark contrast between the different parts of the track, as in the oppressive finale that culminates in a thunderclap, followed by the strangely melodious Torden, a track that is both ethereal and relatively violent, making it highly catchy. A few passages of clean vocals intermingle with the growls, and although it’s fairly short, the track is full of twists and turns, as evidenced by the break leading into Skrømt and its piercing harmonics, which cut through an already abrasive rhythm section while also introducing some more unsettling elements. The album continues with Ferdamann, a track that is both martial and epic, offering a solid foundation for headbanging, but also featuring highly catchy melodies and choruses that make it quite accessible, much like the intro to Inn i en annen sfære, the longest track, which first unveils an intoxicating softness before igniting without warning. Fans of the band will be immediately swept up in this new, Old School-tinged acceleration, as well as in the mystical tones that only end to lead us to Martyr and its sharp riffs infused with an unhealthy aura. The track is also quite rhythmic and flies by in no time, handing the baton to Jutul, which immediately proves much livelier, then diversifies in turn and offers far more melodic sections than I expected, as well as a genuine moment of tenderness before the final charge. Utryddelse closes out the album with a moment of dread, followed by a heavy sound and then a new wave of rage that sweeps everything in its path in the tradition of Norwegian black metal; the album remains firmly rooted in its origins at every moment, no matter the pace.
Although Black Metal runs through his veins, Mork doesn’t hesitate to embrace influences beyond the confines of Old School, making Monolitt a true compendium of darkness with diverse facets that will appeal to both longtime fans and newcomers alike.
85/100