Who could have guessed that the lone militaristic snare and bass drum that opens Mayhem‘s debut EP (1987’s Deathcrush) would usher in the march of one of the most influential, iconic, and infamous metal subgenres ever to exist? Of course, I am referring to black metal, more specifically, that of the Nordic variety. With almost four complete decades under its bullet-adorned belt, the evolution of Norwegian black metal is as fluid and free-flowing as the icy waters cascading down the mountainsides of the fjords that shape the Nordic landscape. Like those every-changing waters, bands and personalities such as Ihsahn, Gaahl, Enslaved, Satyricon, among many others, have remained fluid in their musical output, with many becoming barely recognizable, while others, such as Ulver, have abandoned black metal altogether. It perhaps makes some sense that the forebears of the subgenre have moved on, carving out new paths of creativity. Luckily for us, the blood-thirsty consumers of this stuff, a handful of bands today still carry the flag of True Norwegian Black Metal loud and proud. Of these bands is relative newcomer Helvitnir.

Formed in 2023, the band’s name may be new, but the members themselves are certainly not. The foursome features Ihizahg, Bjarkan, and Hellcommander Vargblod (all previously of the black metal band Ragnarok). Additionally, the band features legendary drummer Hellhammer (Mayhem, Arcturus, Mortem, ex-Emperor, ex-Dimmu Borgir). The pedigree on display speaks volumes of the quality of musicianship found on their latest release, Wolves Of The Underworld (the follow-up to the 2024 EP Helborn). This nine-song full-length is, without question, a testament to the lasting legacy of Norwegian black metal. Songs such as the lead-off track (and first single) ‘Throes Of Transformation’ weave together the tremolo-picked melodies, haunting atmospheres, and raw aggression of black metal’s early years, yet does so with a clarity to its production that is both warm and icy at the same time.

‘Black Flame Triad’ is a song ripped straight from the pages of second-wave black metal. If anything, this song alone demonstrates the band’s ability to craft raw yet memorable compositions, combining the unrelenting aggression of a band like Tsjuder with the cold, melancholic atmosphere of something akin to Djevel. Tracks three and four (‘Helvitnir’ and ‘Void Of Emptiness’, respectively) are absolute odes to the minimalist, repetitive, and d-beat-driven sounds of Transilvanian Hunger and Panzerfaust-era Darkthrone (excluding the lo-fi production found on these albums). The back end of both songs has a quick one-two punch, which is accentuated by some early Mayhem-like tremolo riffing. ‘Void Of Emptiness’ also employs some truly hypnotic chord progressions and discordant riffing that brings to mind Rebel Extravaganza-era Satyricon. At its core, though, this track shares an ethos similar to Enthrone Darkness Triumphant, Dimmu Borgir‘s stunning album released in 1997. The song exudes a truly entrancing cinematic flair through some Dimmu-like melodic textures and bleak atmospherics but does so without employing synths or overt orchestral elements.

‘Imagery Of Deceit’ contains one of the album’s catchiest hooks (first introduced at the song’s 2-minute 27-second mark). This riff embodies the spirit of Swedish melodic black metallers Dawn and their wholly underrated masterpiece from ’98, Slaughtersun (Crown Of The Triarchy). The song is built around towering walls of Swedish-inspired black metal. Within those walls can be heard the deafening echo of hypnotic tremolo-picked melodies, propelled by the thunderous reverberation of the rhythm section. All of this combines to showcase a perfect balance of aggression, atmosphere, and precision, embodying the essence of melodic black metal at its most vicious and grandiose. ‘Odinsbane’ is a primarily mid-paced affair that introduces minimalist Burzum-like keyboard tinkling. Once again, I am getting a slightly Dimmu Borgir-ish vibe to this track, more specifically as it relates to the hypnotic, almost ritualistic aspects of the song ‘Council Of Wolves And Snakes’ (found on Dimmu‘s last studio effort, Eonian). Unlike this song, ‘Odinsbane’ is far more aggressive, eventually transitioning to Marduk-like extremity and relentlessness.

Closing the album off with the triumvirate of ‘Dread Biter’, ‘Helheim’s Throne’, and ‘Draugr’, I couldn’t help but be enthralled by an album that so perfectly bridges the past and the future of black metal, paying homage to the cold, primal energy of their predecessors while still pushing boundaries. If Wolves Of The Underworld is any indication, this careful balance between reverence for tradition and a forward-thinking approach certainly positions Helvitnir as the torchbearers of the genre’s next chapter. This is, quite literally, a perfect black metal album that truly encapsulates its essence while inviting listeners to explore uncharted sonic realms.