The torch still burns strong

A review of Taake's 2011 masterpiece, Noregs Vaapen

From the captivating opening riff of “Fra Vadested Til Vandesmed” to the final swirling cacophony of “Dei Vil Alltid Klaga Og Kyta,” Taake’s fifth full length album, “Noregs Vaapen” is a modern black metal classic that continues to stand tall as an example of the genre’s relevance and domination.

“Noregs Vaapen” not only showcases Hoest’s matured songwriting but combines it with the talents of some of the scene’s greatest contributors, including Nocturno Culto, Attila and Demonaz.

This record serves as the second release in a trilogy of “black ‘n’ roll” style releases for Taake that began with the phenomenal self-titled record—marking a transition from the project’s earlier records which delivered a more complex and atmospheric experience. Taake’s black ‘n’ roll records feature punchy, hard-hitting tracks that are led by a series of interwoven riffs that serve as the focal point and central melody.

“Fra Vadested Til Vandesmed” serves as the perfect introduction to the record — immediately gripping you with its opening notes and punchy percussion before luring you in with a catchy riff melody that continues to evolve throughout the track. The instrumentation is accompanied by raspy necro vocals that compliment the timbre of the drums. 

“Orkan” opens with a dissonant earworm of a riff which represents the hurricane the track gets its namesake from. The dark and brooding opening transitions to a lighter riff changeup that serves as the eye of the storm and as a reprieve from the dark times that haunt Norway. The inner melody conveys a sense of bittersweet melancholy before reaching the bridge which continues to swirl upward until it hard cuts back into the opening refrain. The backing instrumentation joins in crescendo and the motif is developed further until it turns into a mix of fuzz before changing one last time.

“Nordbundet” opens with the push and pull of two central riff motifs that shift into a light progression giving it a tinge of satisfying melancholy, however the track really showcases its strength with a catchy choral hook that quickly devolves into a grind with a brooding vocal delivery before a return to form. It’s this play with instrumental passages that make the track as it’s varied enough to be captivating without being overly technical for black metal. It leads you along each passage like a spell as you return to the same familiar segments

“Du Ville Ville Vestland” features one of my favorite vocal performances as the vocalist almost strains himself with the first two opening lines before breaking into a beautiful bridge segment that is complemented by a transition into harsher riffs that sway. The central riff doubles back on itself before entering a transition passage that lets the instrumentation speak for itself. Starting at 4:06, begins one of the best instrumental passages on the album as the track breaks down to showcase a clear lead guitar that is backed by a dark lo-fi rhythm guitar. The track closes with a shredding guitar solo send-off that is quite technical for the genre but still manages to stay cohesive with the sound.

The opening notes of “Myr” set a somber tone for the track and spark a contrast from the preceding tracks. Despite this, “Myr” manages to fall into a similar pattern. However, things really begin to shift during a spiraling passage that is accented by the sample “I hope we have the coldest winter ever.” Of course, the track is best known for its banjo solo which is a perfect example of Hoest integrating instrumentation from outside the genre in an ingenious way. (Listen to the track “Heartland” from 2018’s “Avvik”) Is it a little corny? Maybe, but it also goes hard, and we respect him for it.

“Helvetesmakt” immediately opens with a name drop of the song title and a heavy chugging riff before entering an underwhelming instrumental passage that consists of light riffs and drumming that are placed toward the back of the mix. Heavy riffs return along with odd samples in the back that make for a nice atmosphere. The vocals feel as if they are calling from hell itself. Around the 2 minute mark begins a striking riff that pulls you in deeper that is then accented by piercing instrumentation and cries. The use of vocals and cries in this track help to carry the tone and uphold it alongside a better second half as the song fades away to make room for the closer.

“Dei Vil Alltid Klaga Og Kyta” is the longest track on the album at 10:16 making it almost twice the length of any others, fortunately that time isn’t wasted as this track helps to clean up any loose ends from the previous one. It doesn't immediately show its strength like many of the other black ‘n’ roll tracks on the album, instead opting for a more progressive approach more in line with Taake’s later releases. Things begin to heat up though with a gut punching transition around 2:55 that features a guttural descent and stomping riff changeup. The true highlight of the track begins at 7:12 and marks one of my favorite moments in all of black metal. The track reaches a sudden halt as the lingering notes of a single guitar are plucked alongside eerie background samples. After letting the brooding atmosphere sink in, the drums return as well as some of the greatest black metal vocals of all time that carry a heavy weight as they deliver a prideful yet sardonic farewell that calls for remembrance. The final solo grinds to a halt and after a cacophonous break, you’re left to soak in the dark atmosphere.

While Hoest has more exploratory and diverse releases in the discography, “Noregs Vaapen” stands as a perfectly developed cohesive structure. It is the pinnacle of the black ‘n’ roll trilogy and a standout black metal release on a production and technical level which is a feat for a genre that hates both of these things.

In the past I’ve found it very easy to feel that everything good about black metal died in the early ‘90s and that now we’re just left with a bunch of posers copying an art form they are unable to even comprehend — or worse — actively want to change. However, if you ever start to feel that way, this is one of a few modern records that will remind you the blazing torch still burns brightly.