Review: Nattverd – Tidloes Naadesloes

Review by Ralka Skjerseth

Nattverd – Tidloes Naadesloes

Record Label: Soulseller Records

Year: 2025

Rating: 8/10

Hailing from the unholy Black Metal sanctuary which is Bergen in the heart of Norway, Nattverd has been presenting raw, uncompromising second-wave Black Metal for about 15 years, with a strong inclination towards early ‘90s second-wave Black Metal acts exactly from the same country as theirs in terms of influences– the likes of Immortal, Emperor, and Taake, to be precise.

Earlier in March, they had just released their fifth full-length via Soulseller Records, which is a Netherlands-based record label. The album, titled Tidloes Naadesloes, is written entirely in Norwegian and it incorporates a heavy emphasis on the concept of ferocity over melody, of which their sonic alignment would then be constantly described as “musical violence”. Atmospheres surrounding the cold and the dark happen to be meticulously recurring on this album as a consistent theme– especially emphasized on the ever-belligerent opening track “Iskalde Horn”.

Nattverd

Despite the way their general undertones tend to lean towards second-wave Black Metal-centered alignments, in contrast to the scene’s typical low-fidelity-oriented principle, they involved high-quality sound production instead on their creative process, which helps the audience immerse themselves in the sonic chaos properly and audibly while still keeping the very idea of rawness intact. They also incorporated some strong tremolo works as well as menacing blast beats throughout, which are clearly shown on some fast-paced, vicious-sounding tracks such as “Hvisk Deg Vekk” and “De Sviande Ord Vaagar Ikje for Sitt Liv”. Accompanying those harsh, brutal rawness are also complex bass works, which also become one of the quintessential parts of this album’s musical narrative.

While trying to retain traditional elements in their songwriting, still, Nattverd experimented with the purest, rawest, most ungovernable forms of tempo shifts and dynamic variation, while they also managed to balance the harshness with gentler, more subtly emotional passages, including how they presented a slowed-down bass-laden middle in on the track “For Aa Kunne Bli Doedt”. What’s especially exceptional about this album is also the fact that some second-wave Black Metal seniors, namely Hoest from Taake and Dr. Von Hellreich from Slagmaur, also took part in the creative process as featured guest vocalists, which builds an even stronger nuance to the listening experience.

This album is basically the epitome of Nattverd’s attempt to evolve beyond the mundane– a testament of transition which stands on the focal point between paying homage to tradition and stepping towards originality.