Mork – Syv Review

Deep inside my bones, I can feel death pulling me under, but not in a relaxed, far-out Dream Theater sense. Instead, the stench and gooeyness of a metaphorical swamp are dragging me down. Look, my local football team is terrible. The days are getting shorter. I’m probably depressed. And what better way to combat the onset of seasonal depression than your friendly neighborhood black metal band?

Oh, wow, is this another black metal album review from Josh? GET OVER IT!

Thomas Eriksen is back again with another Peaceville Records release, this time with his main one-man band, Mork. Earlier this year, Eriksen’s side project, Udåd, debuted with a self-titled opus. I covered that record, too. For that review, I discussed how Mork has evolved throughout the years. Here’s a quick recap that will shed some light on some of the topics I’ll cover as you read on:

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.

When the project and debut self-titled album were announced, Eriksen—and I’m paraphrasing here—explained that as Mork continues to take more experimental approaches, Udåd will be his vessel for unfiltered, old-school black metal.

So, while we’re focusing on Mork, it’s imperative to note that Eriksen has stepped away from the rawer tendencies of the project’s earlier works. That was evident in the previous Mork LP, Dypet. On this new record, Syv, Eriksen continues trucking into more experimental territory, culminating in his most diverse work.

Evolving from the strictly primitive nature of Norwegian black metal has allowed Eriksen to dig deeper into his artistic prowess. Eriksen doesn’t shy away from anything on Syv—at all, really. In the seventh chapter of the Mork saga, you’ll hear various heavy—and even softer—arrangements that may only truly be appreciated if you’ve listened to the project’s entire discography.

The foundations of Mork remain interwoven, notably on songs like “I Takens Virvel” and “Ondt Blod,” showcasing classic tremolo riffs and screeching vocals. But where you’ll find many of the differentiators are on tracks like the closer, “Omme.” Very few Mork tracks, if any, sound quite like it. It relies solely on guitars and clean vocals for what sounds like a stroll through the fjords of Scandinavia; it will surely be the most discussed offering on the record. I found it to be quite beautiful. You’ll also hear Norway on “Holmgang,” featuring classic instrumentation behind chugging riffs and uber-hypnotic vocal melodies and hooks. Perhaps that’s what I enjoy most about Mork: Eriksen’s ability to create these moments that ring in your head. I still find myself randomly humming that main riff to “Pa Tvers Av Tidene,” even five years later.

At this point, Eriksen has crafted his unique sound in the genre. When I listen to Mork, I’m reminded of how quickly we can recognize something like a Darkthrone or Mayhem. Maybe I’ve just listened to so many hours of Eriksen’s discography that it’s almost instantly recognizable. Perhaps it’s because he’s created something like that of his fellow Norwegians. Take “Utbrent,” for example. The riffs are simple, yet meticulously crafted and fit the tune’s structure that sways back and forth with tempo changes before opening at that tail-end. The clean vocals also add a nice layer for a brief interlude, especially with the ethereal, reverbed guitars. You might find similarities to fellow black metal musician Niklas Kvarforth’s songwriting—sinister yet catchy. Eriksen’s songwriting follows a similar formula to “Utbrent” on “Med Doden Til Folge,” this time throwing in some traditional heavy metal riffage and even a nice little solo bass break.  

I’ve said it before, and I’ll repeat it: Thomas Eriksen is a modern treasure in the black metal scene. He’s broken free from the boundaries of what many consider to be the truest attributes of the genre for a career-defining, best record to date. But fear not, Syv is still a black metal album. But you won’t find it here if you came looking for Isebakke. And as much as I love that record, I’m glad Eriksen takes chances. It just so happens that the best chances he’s taken in his career are found here on Syv.