(This is Daniel Barkasi’s review of a new album by the Norwegian black metal band Mork, which will be released by Peaceville Records on June 19th.)

If you don’t evolve, you can get left behind. As humans, we learn and grow as we traverse this wild journey called life. It can be similar for music, especially for bands who have been around for quite a bit of time. Norway’s Mork is a poignant example of this principle. The solo endeavor of one Thomas Eriksen, Mork has been an active project since 2004, coming forward with a debut full-length in 2013 with Isebakke. An album that was born from the influence of early ’90s second wave black metal, with classic Darkthrone being the most obvious of reflections.

Since then, Eriksen has been consistent with his productivity, releasing a total of seven albums to date under the Mork banner, while also dropping a record with his newer side quest, the blunt and direct Udåd. The progression of Mork has been a fascinating one, leaning into experimentation and spreading his proverbial wings in later efforts, beginning with Det svarte juv and taking off from that point in 2019. Retaining the tried-and-true black metal elements, but also expanding the amount of sonic directions, the distinctly personal and memorable Dypet was a true tentpole moment, taking Mork into even fresher waters. Further risks within follow-up Syv also paid off, with it being as equally distinct as Dypet, leaning much deeper into the folk characteristics than the aforementioned predecessor.

Now with Monolitt, as with all of Mork’s releases at this point, we expect the undertone of the early second wave to be present to some degree, but also don’t know what ideas will pour out of Eriksen this time around. As it turns out, the abrasiveness has been turned up more than a few ticks, and the guitars are increasingly riff-oriented, giving a bushel of earworms that perhaps make this the most balanced and irate effort to date. Continue reading »