I remember my initial viewing of Ari Aster’s horror masterpiece Hereditary. To this day, it remains one of my favorite first watches ever. Heart palpitations and shock aside, as soon as the credits finished rolling, I couldn’t fathom how the movie wasn’t receiving more recognition or press. Of course, today, if you ask anyone within walking distance their favorite horror movie of the last decade, I’m guessing a substantial percentage would vouch for the film. And obviously, I’m ecstatic it continues to receive its rightful critical acclaim. See, metal fans aren’t always gatekeepers, right?
In terms of music, from time to time, I walk away with notions similar to those of my inaugural Hereditary experience. Look, I understand music is subjective. However, I have difficulty figuring out why certain bands or artists don’t receive the notoriety they deserve. My extreme metal list has endless names, but near the very top is Halden, Norway’s Thomas Eriksen, and his solo project Mork. Even the greats have lauded the man’s talents, notably Darkthrone’s Fenriz and Nocturno Culto. Much of Mork’s earlier works, like Isebakke and Den Vandrende Skygge, were in tune with the primitive nature of black metal’s second wave. But there still seems to be an apparent yearning for that sound still burning within him, which leads us here: Eriksen’s newfound project, Udåd.
You’re introduced to the record with “Den Evindelige Ende,” an instrumental—consisting of a repeating, somewhat clean yet still gain-ridden—guitar riff that echoes for three consecutive minutes. Immediately, you’re thrust into what many of us older black metal fans would call “nostalgia.” While Eriksen bleeds the melancholy of traditional black metal from the get-go, this track also has a triumphant tone. And while repeating the riff, it never loses your attention with a crescendo of sounds in the background. Then, you’re thrown into what sounds like an evil carnival of riffs with “Bakenfor Urskogens Utkant.” Around a minute in, you’re greeted with the initial sounds of Eriksen’s screams—which sit low in the mix, but not Revenant Marquis-low-in-the-mix (that project also rules)—and have almost a punk approach. I wouldn’t call them your typical black metal-style vocals, but they fit perfectly with the chamber-like echo and reverb.
You’ll also discover that much like those before him, Eriksen places the guitars at the forefront of the mix, and rightfully so. Like Mork, Udåd effortlessly and continuously churns out groovy and catchy riffs. Look no further than tracks like “Avgudsdyrker” and “Blodnatten,” which sonically breathe sorrow and display how seriously Eriksen is taking his new project. In no way do these songs seem like Mork throwaways or B-sides—you could argue that Eriksen hasn’t conjured up these atmospheres or tones in years. In other words, the record’s first half is a testament to his black metal songwriting prowess. On “Blodnatten,” there’s a nasty bass tone and nasty bass on the album in general. Even with that audible bass, before you reach the halfway point, it’s evident this record would fit perfectly in the genre’s golden years.
Wait, maybe you’re living in the golden years?
Iron Maiden, anyone?
The second half of the record kicks off with “Den Virkelige Apokryt,” the most up-tempo track on the record and, instrumentally, most reminiscent of mid-’90s Gorgoroth, filled with dark tremolo-picked chords and haunting progressions. Earlier, I mentioned that Eriksen’s vocal approach had a punkier feel than your everyday black metal project, but on the faster-paced offerings, you hear that more primitive style. Speaking of punk rock, Eriksen wears his influences on his sleeve on “Vondskapens Triumf.” The punk drum beat in the background is the quintessential chef’s kiss. You can hear the Darkthrone influence on this one, too. One of my favorite moments on the record occurs in the latter half of the song as Eriksen brings in soaring—almost dreamy—tones.
The album rounds out with “Kald Iver” and “Antropofagens Hunger.” “Kald Iver” might be the most early-Mork-sounding song on the record, but it still fits the unique bill of Udåd. If you enjoy the Isebakke years, you’ll love this one. Eriksen throws in those clean, gliding riffs again at the tail-end for what gives off somewhat of a proggy black metal vibe. As for “Antropofagens Hunger,” I’m not sure how else to put this, but it sounds like the soundtrack to a sinister James Bond movie—the opening riff especially. But that’s another testament to how well Eriksen can capture a particular aura. He’s a magician in that regard. Nonetheless, it’s another killer track on a superbly strong debut album.
Overall, Thomas Eriksen’s debut album from his new project Udåd is excellent. Period. As I mentioned earlier, I’m often dumbfounded at the lack of recognition some artists receive, and Eriksen is one of them. As time passes, hopefully, Mork and now Udåd will receive the appreciation they deserve. Eriksen is a masterful songwriter. Years from now, I, and hopefully you, will look back on him like we do the greats from yesteryear. Udåd’s self-titled release is filled with stellar riffs and a fabulous bass presence (I know I may be alone in that regard; I enjoy a good black metal bass tone), and the drumming is on point. And the vocals? Five out of five skulls.
You’ll want to pick this one up faster than an emergency trip to the hospital; just keep your head inside the moving vehicle.
Did you catch the Hereditary reference?