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Released on May 13, 2016 via Roadrunner Records
In an age where modern metal is forever striving to deliver genre pushing material or contribute defining albums to certain styles, band’s like Kvelertak stand as an unmatched example of tying all influences together, turning the volume to 11 and producing some of the most teeth grinding, start-a-motorcycle-gang metal possible. Their self-titled debut in 2010 saw the band unleashing their perfectly executed blend of black metal, classic rock riff work and driving hardcore punk aggression. Straight from their inception in the eye of the metal community Kvelertak had tuned an unmistakeable sound, one they would continue with on 2013’s Meir. This effort never took the brakes off either, and only opened up a path to a more classic rock orientated sound whilst never losing the black metal punch that makes the music so distinct. Replay value for both these brilliant albums was high, so Nattesferd perhaps has a lot to live up to. Judging by the direction the band was heading for following the last album, they clearly sought to top themselves, and they did just that.
Kurt Ballou’s production tropes are clearly absent from the start of the record, Kvelertak run with a far more fuzzed out production style that compliments the throwback aspects of the record notably. Opener ‘Dendrofil for Yggdrasil’ hits with solid black metal blast beats and guitars that emphasize that the influence is still there, yet in their unmatched fashion they provide an infectious chord progression and hook quintessential to Kvelertak’s musical torrent.
A track that divided fans on its single release is ‘1985’, a complete classic rock slow burner that could very well be a metal track for the summer, if there is such a thing. In context with the album however it’s nothing short of charming and spirit-lifting, yet at this point appears as something Kvelertak could have always produced.
The appeal of the scrappier production on these tracks and those that follow give the music a live session finish that adds to the driving force of the song writing alluringly. On top of that is Erlend Hjelvik’s unique screams in which he sticks to Norwegian and follows lyrical themes of the other-worldly and mythological. This, tied with Arik Roper’s signature cover artwork and the fact the album was recorded in Norway, forms such a satisfying package for Nattesferd as a whole.
The highlights continue to stack up among the 9 cuts here; the title track features just one example of the addictive guitar melodies in abundance across the record and features a layered build up with hard strumming acoustics, akin to tracks like ‘Bruane Brenn’ off Meir. ‘Bronsegud’ and ‘Ondskapens Galakse’ are two tracks in succession displaying the impressive progression of Kvelertak’s song writing. The former is the shortest and most unrelenting on the LP, hard – hitting and the closest thing they’ve done to straight hardcore punk. The latter is something completely contrasting, a track that comes off ballad-like with the high end, soaring riffs and a bridge that is genuinely a beautiful moment for the band to have executed.
This diverse song writing that they so effortlessly weave into their signature sound leaves this dumb grin across my face on every listen; this is essentially what makes Kvelertak as good as they are, an allure that comes from their sheer charisma with every record they put out. Each track is its own shining example of this on Nattesferd, such as in the case of their lengthiest yet still infectious epic ‘Heksebrann’ where they enhance their ability to write melodies that stick with you for a longer duration. ‘Nekrodamus’ not only then brings the album to a tight close but delivers yet another classic influence in the form of a Sabbath-esque riff and 70’s style instrumentation that feels more than welcome among the overall concoction of heavy metal devices bought forth elsewhere on the record.
I believe I’ll share the opinion with many others that this is Kvelertak’s best work to date. The band have relished in their ability to show their influences, but to a degree that enhances their own distinct sound. The song writing is at a heightened level; the result being a high energy, multi-faceted and full throttle record that is rare among bands of this trajectory. It will be difficult to return to anything other than this for a good neck breaking and beer swigging in the coming years- Kvelertak have for sure outdone themselves.
