For nearly four decades, Norway’s Mortem has occupied an important place in the history of the country’s extreme-metal underground. While names such as Mayhem, Darkthrone, and Thorns are often the first to come to mind when discussing the early Norwegian black metal scene, Mortem deserve recognition as one of the acts that helped shape its early foundations.
Formed in Oslo in 1989 by Marius Vold and Steinar Sverd Johnsen, Mortem made their mark with the release of their notorious demo tape, ‘Slow Death’. Featuring production by Mayhem’s Euronymous and artwork by Dead, the demo became an important document of Norway’s emerging extreme-metal underground. However, following its release, Mortem went into hiatus, leaving its members to pursue other musical ventures.
Those ventures included Arcturus and Thorns, two projects that would go on to establish their own reputations within the black metal community and beyond. Although Mortem’s original incarnation had come to an end, the band’s legacy wasn’t forgotten. Eventually, the original creative partnership came together again, bringing Mortem back from the grave.
Their return was marked by the release of Ravnsvart in 2019, their long-awaited first full-length studio album. Rather than simply revisiting the past, Vold and Johnsen brought their original Black Metal vision back to life while incorporating elements of the atmospheric and progressive sounds they had explored throughout their other musical careers.
Now, Mortem return with their second studio album, Mørketid, released through Peaceville Records. The title translates roughly as “Dark Time” and also evokes the “Polar Night”. The album certainly lives up to its name. Packed with monumental riffs, dangerous musical roller-coaster rides, and a bleak portrayal of a world seemingly on the brink of collapse, this is an album that wastes absolutely no time dragging listeners into its dark universe.
Right from the get-go, this isn’t going to be your typical lovey-dovey listening experience. This is the sound of a band preparing for war, marching straight onto the battlefield and heading into a bleak universe that feels like something ripped from the 2025 video game Cronos: The New Dawn. As David Bowie famously declares during the spoken introduction to ‘Diamond Dogs’: “This ain’t rock ‘n’ roll, this is Genocide!”
Alongside Vold and Johnsen, the formidable musicianship of drummer Jan Axel “Hellhammer” Blomberg, bassist Tor “Seidemann” Stavenes, and guitarist Jamie “Astennu” Stinson helps drive this metallic assault forward. With Sverd’s keyboard work adding another layer of sinister atmosphere, Mortem have assembled a sound that feels both vicious and cinematic. The result is an album that gets the blood pumping, the temperature rising, and the sweat pouring as each track becomes increasingly visceral and dangerous.
From beginning to end, Mørketid feels like a descent into a nightmare unfolding right before your eyes. There is no shortage of aggression, but what makes the album particularly interesting is how Mortem balance their ferocious black metal foundation with atmospheric arrangements and unexpected musical turns.
Hellhammer leads the charge with an absolutely punishing performance behind the drum kit. His double-bass drumming frequently sounds like machine-gun fire, particularly when he shifts into overdrive. Meanwhile, Sverd’s keyboards provide an additional symphonic dimension, giving tracks such as ‘Blodvassen Grunn’ and ‘The Mighty Odious’ an unsettling sense of grandeur.
Then there are Vold’s vocals. His snarling, guttural delivery has enough venom to make your skin crawl. There’s a raw, almost monstrous quality to his performance, bringing an added layer of horror to the music. It’s the sort of vocal attack that makes you want to hide under the covers while the nightmares take over. There’s no shortage of gore-soaked hysteria here, and Vold sounds more than ready to drag listeners straight into the abyss.
As the album progresses, Mortem continue to throw unexpected surprises into the mix. ‘Aftermath’ introduces an ominous organ passage that sets the stage for another round of musical destruction. The guitars initially move with a militant, almost chant-like quality before launching into a brief burst of thrashing aggression that brings the Bay Area thrash metal scene to mind. But just as quickly, Mortem return to their bleak black metal atmosphere.
On ‘Den Sanne Gud’, the introduction takes another fascinating turn, incorporating an Eastern-sounding musical atmosphere before the guitars begin to take control. It’s an intriguing change of direction that adds another shade to the album’s already dark musical palette.
One of the most interesting moments comes when listening to the atmospheric passages throughout the record. During the opening section of ‘Den Sanne Gud’, I couldn’t help but think of the experimental electronic sounds of Tangerine Dream during their Zeit period, alongside the ambitious progressive and psychedelic arrangements found on Aphrodite’s Child’s 666, particularly the ‘Aegian Sea’ section.
It’s an unusual comparison to make when discussing Norwegian black metal, but that’s precisely what makes Mortem interesting. There are moments when the music seems to reach beyond the traditional boundaries of the genre, creating an atmosphere that feels almost cinematic. You can imagine the musicians drawing inspiration from those darker, more experimental musical landscapes before bringing everything crashing back into the world of extreme metal.
And that’s where Mørketid really comes into its own. It isn’t simply about speed, aggression, or throwing one crushing riff after another at the listener. There’s a sense of atmosphere, tension, and musical imagination running throughout the album. The quieter and more unsettling passages give the heavier moments even greater impact, making the eventual eruptions of violence all the more satisfying.
I’m certainly not going to pretend to be an expert on every chapter of the Norwegian black metal scene, but I know what I like when I hear it. And Mørketid is an album that deserves more than just a casual spin. This is a record that rewards repeated listens, preferably with the volume turned up loud enough to shake the walls.
Mortem have spent years building their musical legacy, and with Mørketid, they demonstrate that their return was no passing exercise in nostalgia. These musicians still have plenty of fire in their veins, plenty of darkness in their souls, and absolutely no intention of slowing down.
So, turn it up, let the riffs take over, and prepare yourself for the darkness.
