by Dave Campbell
Progressive Black Metal band ENSLAVED formed in 1991, just as the ‘second wave’ of Black Metal’ was forming in Norway. The so-called ‘first wave of Black Metal’ didn’t really have the defining characteristics of the genre that we have come to know today, so in many ways, the second wave was more important in shaping Black Metal. Consider this as well: at the time of formation, two of the members were just teenagers. Ivar and Grutle were 13 and 17, respectively. Teenagers? Indeed. Their first full-length was released in 1994, and they were very prolific early in their career, releasing eight more albums since their debut. ‘Mið’ is their 17th full-length album, and today, they are celebrated not only for being one of the early pioneers of the genre, but also for their energetic and punishing live performances. When commenting on the album, the band mentions simply this: On ‘Mið,’ the Old Norse word for ‘the center,’ or ‘the middle,’ we are reaching for the center of ourselves, a journey in all directions.
Two singles were released ahead of the album, and they are songs I would like to begin the review with. ‘Solar Will’ is first, and in addition to its deep aggressiveness, it also has those characteristic odd chord progressions that illuminate the band. It’s commanding as well, yet melodic, and reflective of the band’s unfettered attitude when it comes to their music. The lead breaks are done tastefully too, and the variation from clean to harsh vocals and back keeps the song alive. There is often a temptation to just run down the fretboard as fast as you can, but leads are more effective when they follow the melody line as they do. ‘Spirit Helper’ embraces some of the band’s folk style, something that isn’t heard that often. It features Kevin Kicking Woman on vocal chants (a Blackfoot), and it’s a traditional morning prayer song that formed the basis for the ENSLAVED song. Kevin notes, ‘songs are the Blackfoot way of knowing. Expressing relationship and responsibility, belonging and accountability. The purpose of this song is having the performative expression giving meaning to life. Connecting to the universes through the cosmos, earth beings, water beings and spirit beings.’
The leading song on the album is usually one of the best and it establishes the sound that the band wants you to hear. ‘Non-Being’ is that song. It’s a short, instrumental offering that echoes in the deep…it might be coming from the depths of an ocean, a wide mountain pass, or even outer space. A clean riff plays with melody, but there is darkness in the background. Segueing into ‘I Am Ice,’ this is quintessential ENSLAVED. Featuring artist Jonan Sara Jr., it’s a fast and bumpy ride over crushed skulls of the dead. Progressive chord structures are unusual, and Grutle’s signature vocals have a snarl to them that is immediately recognizable. It’s not all pedal to the metal; however, there are darker, ambient passages, and even some eerie keyboard notes. ‘Mountain’ enters with clean guitars and vocals that match. It’s slow and expansive at first, perhaps reflecting the majesty one feels when they come face to face with a towering spire. The second half of the song isn’t as melodic, however. They make a sharp transition to a low, rumbling riff that carries a lot of weight with it. It’s their use of different chords that make them stand out here, because they don’t follow a conventional structure or stick to places you might expect. Instead, they explore freely.
‘Parting’ is more in line with past works from the band if you are familiar with them. It may also be the best and most varied song on the album. An eight-minute opus, it’s part beauty, and part beast. Charming piano notes lead the song, and a feeling of something magnanimous accompanies them in the background. When the main riff drops, it’s a monster, and it’s both groovy and catchy. Clean vocals were the right choice at this point in the song, because it gives the band a chance to display more of their melodic side. Exploring these melodies, I find that they are refined, sophisticated, and elaborate. It’s a side of the band that is every bit as vital and their more intense and aggressive side. ‘Tale of Trees’ is a deep cut that has plenty of aggression, but also polished and mature melodies. They come busting through a closed door seemingly out of nowhere, and man do they soar. There are also some keyboard passages that add to the flavor.
‘I Miðju’ is the closing track, and in keeping with the title of the album, it translates to ‘in the middle’ or ‘in the center.’ If you don’t have your feel planted firmly on the ground, this song could sweep you up and carry you away with the wind. It explores every inch of the band’s varied and diverse style…wonderful melodies, naked aggression, and everything in between. One of the defining features of the band is their ability to create odd and unusual connections between passages that are polar. Meaning, making a cohesive sound out of spare parts, if you will, because some of these things feel like they don’t belong in the same song. Did they find their center on the album? Most definitely. Some of the songs are shorter, and more concise than past works, and that’s the dominant characteristic of the album. But a sense of exploration is still at the center of the band’s sound on ‘Mið.’ On their 17th album, they remain restless and unsatisfied with keeping the status quo and instead continue charting a path of discovery in the band’s long and storied career.
Released on October 30, 2026
Purchase Link: https://enslaved.bandcamp.com/album/mi
1. Non-Being
2. I Am Ice
3. Solar Will
4. Mountain
5. Spirit Helper
6. Parting
7. Tales of Trees
8. I Miðju
Ivar Bjørnson – Guitars, Keyboards, Piano, Electronics, Effects, Percussion, Backing Vocals
Grutle Kjellson – Lead Vocals, Bass, Mouth Harp, Electronics, Effects
Arve Isdal – Guitars, Backing Vocals
Håkon Vinje – Keyboards, Piano, Clean Vocals
Iver Sandøy – Drums, Percussion, Keyboards, Effects
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