Norna was formed back in 2020 by ex-Breach/The Old Wind vocalist Tomas Liljedahl and two members of Swiss post metal/sludge band Ølten. Their 2022 debut Star Is Way Way Is Eye wasted little time in hitting listeners with dense and destructive riffs along with ear piercing vocals that added up to a harsher and more apocalyptic take on post metal, sludge, and doom. It was one of those albums that seemed singularly focused on the attack, often leaving little space for listeners to breathe as it methodically took out everything in its path. Two years later the trio has returned with a self-titled follow-up, and they’ve only gotten bleaker, but there is a bit more nuance to the way the noise now rises and falls. With even more layers and slight periods of respite, Norna’s further sharpened their blades as they leave behind a trail of destruction, and while their sound remains a familiar one within the sludge and post metal space the strength of their writing makes their sophomore effort worth checking out.
Throughout its forty-minute run, Norna’s self-titled builds an apocalyptic and bleak tone that’s reminiscent of a lot of the sludge and post metal classics from the early to mid-2000s. It’s appropriate that they are a part of the Pelagic Records roster, as the way their layers build into these immense, towering peaks definitely gives off some vibes not unlike The Ocean’s earlier discography. Opener “Samsara” starts off with a weighty, powerful sound from the second you hit play and only builds from there with dread inducing guitar work and noise levels that only seem to increase with each passing moment. But the band makes it clear that this time around their attack is a bit more nuanced and gives slight periods of respite before coming back even stronger, as around the two-and-a-half-minute mark the noise fades out and a drearier melody expands outwards before the bass and drums come roaring back in. It’s an effective use of atmosphere that keeps the tension at a high even while the instrumentation is at its softest, and this is also well-utilized on tracks like “Ghost” and “The Sleep”. There’s also the underlying synthesizer work that makes for an even moodier and ominous soundscape throughout, as even when the layers of distortion from the guitar and bass fade out during interludes and outros there’s still a noisy hum on the recording that makes it sound like you’re hearing the remnants of destruction. Compared to Star Is Way Way Is Eye these smaller details make a big difference, as there are more riffs that stand out from song to song and the way the writing ebbs and flows isn’t quite as uniform. Admittedly the sound is still pretty familiar for anyone that’s spent a lot of time with post metal and sludge though, and in this sense it seems like Norna is just starting to tap into some of their unique qualities. But if you’ve liked the bleaker slant of certain Cult of Luna or The Ocean albums over the years, this will channel a same sense of dread and tension that’s appealing from beginning to end.
The instrumentation may be immense, but Liljedahl’s harsher screams continue to be what gives Norna their sense of power and scale. Despite the density and volume of the layers of noise and harsher riffs, the vocals stand tall above them and only seem to get more intense with each passage. The abrasiveness of the screams could have made them become repetitive if they were used continuously, but the arrangements provide some space between each attack which not only avoids the issue but allows Liljedahl to hit as hard as possible every time. In addition to the vocal work, Norna has also incorporated some samples into their music and distorted them to the point that they’re downright creepy. The opening of “Shine By It’s Own Light” caught me off guard the first time through the album, and it’s another element that gives the material some unique qualities. Don’t expect any singing or other respites from the vocals, as they do their best to tear things down the whole way through.
Norna has made some noteworthy tweaks to their formula, ensuring that even when they give listeners a brief respite from the noise and weight of the instrumentation that there is still a sense of tension and dread. It’s an approach that works well, and those that like the bleaker and apocalyptic tone of a lot of post metal and sludge will find the songwriting here has some standout moments that give plenty of reasons to keep coming back for more punishment. But even with these tweaks, it does feel like Norna is just starting to emphasize their unique qualities and push beyond some of the genre’s formulas. The synths and other instruments do contribute some different textures and seem to be hinting at even more, and if the band can build upon this they can reach some truly extraordinary heights. Norna is available from Pelagic Records.
-Review by Chris Dahlberg
