For the state of mind I’ve been in as of late, I’ve found myself retreating to music one could categorize as progressive, avant-garde, or flat-out weird. I’ve been spinning Rush and Faith No More nonstop: Two bands I’ve loved since middle school, but whose output hits differently when interpreted through the lens of adulthood existentialism. Even the Thin White Duke himself, David Bowie, has been creeping his way into regular rotation for the first time since my college years, particularly 1980’s Scary Monsters (and Super Creeps) (Bowie and Fripp were too powerful a pair). With this in mind, it’s as if everyone’s favorite prog Vikings, Enslaved, couldn’t have picked a better time to drop their 17th album, Mið.
By now, 35 years into their storied career, most listeners would think they’d know what to expect when it comes to a modern day Enslaved release. Certainly you’re not going to get the ’90s Viking metal grandeur of Frost (1994), and that’s fair. They’ve certainly evolved since then, having largely settled on a progressive/black/Viking metal fusion that has dominated the better part of their 21st century output. It’s where they go within these parameters, however, that always remains a surprise to even the most seasoned of Enslaved connoisseurs.
Following an icy, ominous intro in “Non-Being”, the aptly titled “I Am Ice” takes charge with its bleak Scandinavian riff blizzard, sprawling composition, and signature Viking chants. Keyboardist Håkon Vinje, a member since 2017’s E, provides some old school, Rick Wakeman-esque leads, which adds significant texture. “Solar Will” is yet another frostbitten blast of classic Norwegian black metal, albeit delivered the only way Enslaved knows how. The progressive moments on this particular tune conjure shadows of Haken and even Mastodon, specifically within the chord changes and the incorporation of clean, harmonizing vocals.
As Mið progresses, Enslaved retreats further into the progressive cocoon, which is, again, where they’ve been most at home for the better part of this century. “Mountain” begins as a tender prog rock ballad, straight out of the genre’s early ’70s heyday, before morphing into a towering beast, complete with chug riffs. Progressive blackened groove metal? I better stop while I’m ahead. “Parting” also blurs the line between old school prog rock and modern prog metal, while “Tales of Trees” leans into the black/Viking feel of “I Am Ice” and “Solar Will”. The only dud on here for this headbanger is “Spirit Helper”: A Native American chant complete with a Blackfoot elder, and I ain’t talking Rickey Medlocke. I’m sure the intent was add to the emotion and depth of the album, but ultimately, it comes off as an unnecessary intermission.
The rare misstep aside, Mið is anything but, as the kids would say, “mid”. This is another high caliber slab of progressive black metal from a band who have singlehandedly embodied the subgenre’s ethos for the better part of their existence. It is most certainly a “headphones only” affair, in which the listener is invited to surrender themselves from this universe and enter into Enslaved’s: A universe somewhere between the barren icefields of Scandinavia and the horrifying outer reaches of the human psyche. It sure is cold, so be sure to bring your best winter jacket!
8 out of 10
Label: Nuclear Blast Records
Genre: Progressive Black Metal
For fans of: Borknagar, Primordial, Opeth
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