Despite the departure of bassist Tor Stavens, Mortem successfully achieved the compositional work wrought in the spirit of the old. The sophomore album is in the vein of its predecessor, and it’s clear that the band has stepped up a gear in conveying fabulous combinations without losing inspiration and dynamics.

The whole spectacle of synth and keyboards wielded by Sverd, the drumming bombardment of Hellhammer, and the grim snarls of Marius Vold are all skillful and prove that Mortem fits well in the category of atmospheric and symphonic black metal. The opening track, “Mørketid”, captures these elements perfectly; while the sophomore does not pay homage to Norwegian traditions, it certainly strikes a balance between pure evil and layered synth arrangements.

The synth lines are unique, courtesy of mastermind Sverd, who provides cosmic soundscapes and symphonies instantly recalling bands like The Kovenant, Dimmu Borgir and Arcturus. “The Mighty Odious” is marked by Hellhammer‘s intensity and furious blast beats, but you can hear plenty of catchy melodies. Mortem combines sheer majesty; this is a structurally diverse album perfectly wrought by the backbone of the veteran’s musical genius.

There are plenty of standout tracks, such as “Skyggeånd”, which is carried by a razor-sharp riffing; the untamed aggression on this track predates the sound of 90s black metal entirely. The mid-paced section of this song is embellished with eerie synth, whilst the rawness and aggression are masterfully presented in the eight tracks; they are mostly played at mid-paced.

There is more to say about the atmosphere and the cold Necro riffing that would certainly excite fans of Mayhem and Arcturus. At the same time, Mortem emphasizes the symphonic components; the trio has explored new musical zeniths, and, for this reason, the sophomore displays fine musical mastery.

The production benefited from a remarkable use of synth effects, aggression, and melodic embellishments to enhance its eerie atmosphere. “Blodvassen Grunn” then ventures deeper into the dark realms with the guitars striking like a hurricane; the keyboards provide an infectious spectral atmosphere that centers on it.

The vocals on the album perfectly fit with the music, and there are moments when the grim shrieks provide the icing on the cake. “Aftermath” is one of the tracks that stand out on the album; despite the raw black metal riffs, the guitar hooks add depth to the shimmering synth lines. The drumming is also diverse; Hellhammer incorporates lots of different styles, and you can’t dismiss the progressive touches of the guitar solos and leads.

Another highlight is the song “Den Sanne Gud”; the song integrates plenty of symphonic passages and eerie synth entrances to create ominous and mesmerizing moments. The sinister, raspy vocals enhance the aura and bombastic qualities when combined with guitars and synth; especially the way the solos are played surely shows how unsettling the composition can be. Mortem delivers something different than the usual state of the art; the soundscapes portray beauty and darkness that encrust the sophomore with a creative aesthetic appeal.

On the final tracks, “Mørkets Ormebol” and “Ditt Ødes Ære”, the veterans prove that their songwriting and dark musical mystique fit the style of second-wave black metal, and even the early phases of first-wave black metal, recalling the golden ages.

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