Enslaved is one of those bands that never sit still for very long. The occasional couple of albums could be described as being a pair, but then they introduce something new that changes everything. Yet, they are still undeniably Enslaved, with those signature Grutle rasps and Bjørnson’s songwriting style marrying black, progressive, and Viking in the most recognizable and unpredictable way. Now, after thirty-five years and sixteen full-length albums, these keepers of the old ways return with their seventeenth LP, Mið. Coming off the heels of the rewarding Heimdal, does this new slab of Norwegian lore have what it takes to keep the groove going? Or will it just be… Mid.1
According to the album’s one-pager, Bjørnson and crew took a different approach to the writing process for Mið. After tossing around ideas for a while, nothing was solidifying as a proper successor to the mighty Heimdal. So, they decided to strip everything away and hit the studio with very little prepared. If you don’t find that risky, remember that’s how we got Metallica’s St. Anger. Now, before you fucking attack me for even mentioning these two in the same review, hear me out. Any Enslaved fan knows their music is painstakingly calculated to deliver the correct flow and produce the intricate nooks and crannies that no ear can identify on a single spin. So, with my anxiety at its max, how will that fare?
Well enough, it seems—even if some decisions on the final product make Mið a jarring listen. Case in point: the transition between the itsy-bitsy, Bathory-esque instrumental opener and “I Am Ice.” After the opener soothes with gentle acoustic guitars and a reverberated lick, we are slammed into a distorted black metal charge with vehement rasps. As with most Enslaved songs, “I Am Ice” is three-dimensional, swapping rasps for cleans, Viking choirs, and low booms as the moods and transitions change. While a fairly standard Enslaved piece, the weirdest part comes after the midpoint, when the absurd keys noodle like a Spock’s Beard fever dream. By the way, prepare yourself for other keyboard-isms throughout that might catch you off guard.
The back-to-back “Mountain” and “Spirit Helper” represent two of the album’s best tracks. “Mountain” opens with a similar acoustic vibe to “Non-Being” before the gorgeous clean vocals take over and ride it like a cloud. Layers soon form in this succulent croissant until everything changes forever. Dropping the melodic vibes, overcharged distortion thunders along with the choppy chuggery. Like the song’s first half, this heavier half also stacks layers before becoming completely unhinged. But “Spirit Helper” is an entirely different beast. With vocal assistance from a Montana-based educator of the Blackfeet Nation, “Spirit Helper” is an exploration of native culture and a masterclass on how to string together a song that gets more massive with every passing minute. This track is like nothing you’ve ever heard from Enslaved and proves the band truly has no boundaries.
While not the strongest, “Parting” has a calming, twinkling atmosphere and powerful vocal delivery, while “Miðju” closes the album with a similar structure to “Mountain.” Unfortunately, they are too long for their own good. They have great moments, but they become trapped in repeat mode for half their runtime before finally breaking character and delivering something worthwhile. All in all, Mið is a solid album with dynamics just good enough to introduce something new with each spin. That said, it’s also a strange album. But it wouldn’t be Enslaved if it didn’t explore something new. I mean, remember when we went from Below the Lights to Isa? Mið is no Isa, but it can be appreciated similarly, flaws and all.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: enslaved.bandcamp.com | enslaved.no | facebook.com/enslaved
Releases Worldwide: October 30th, 2026
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