ENSLAVED

Norwegian progressive black metal veterans Enslaved have never been a band willing to remain within the boundaries of a single musical style.
From their early black metal recordings to their increasingly ambitious explorations of progressive rock, atmosphere and philosophical themes, they have consistently challenged themselves and their listeners.
Their new album, ‘Mið‘, scheduled for release on October 30th, 2026 through Nuclear Blast Records, continues that journey with another fascinating combination of aggression, melody and experimentation.
The title comes from the Old Norse word for ‘the centre‘ or ‘the middle‘, a fitting concept for a band whose music has always existed somewhere between opposing forces.
Extreme metal and progressive rock, darkness and light, physical intensity and spiritual reflection all find their place within eight compositions that demonstrate just how far Enslaved have developed without losing their original identity.
The album begins with the brief instrumental introduction ‘Non-Being‘.
Lasting only 1:20, it establishes an atmospheric foundation before the heavier material emerges.
Despite its short duration, it works remarkably well, creating a sense of anticipation and introducing the philosophical character of the record without unnecessary elaboration.
‘I Am Ice’, featuring Johan Sara Jr., follows with a colder and more imposing atmosphere.
The interaction between aggressive instrumentation, melodic elements and contrasting vocal textures creates the kind of musical depth that has become an essential part of Enslaved’s identity.
Rather than allowing the different elements to compete, the arrangement gives each its own space, producing a composition that feels both powerful and atmospheric.
The previously released single ‘Solar Will‘ brings the band’s heavier side into sharper focus.
Savage guitar riffs, substantial drum grooves and melodic passages form the foundation of a song that moves confidently between aggression and more expansive progressive territory.
Harsh vocals contrast with soaring clean singing, giving the composition a particularly effective dynamic range.
There is also an interesting relationship between the music and its underlying symbolism.
The sun represents both life and destruction, and Enslaved reflect that contradiction through the contrast between crushing guitar work and uplifting melodies.
The rhythm section provides considerable weight, but the song never depends on speed alone.
Its impact comes from the careful balance of power, atmosphere and musical movement.
‘Mountain‘ is one of the album’s strongest moments and a personal favourite.
Its crushing, groove driven approach occasionally recalls the muscular heaviness of Gojira, although Enslaved retain their own unmistakable character.
The riffs are enormous, the rhythmic changes are executed with precision, and the drumming is particularly impressive throughout.
At almost six minutes, the composition has enough room to develop its ideas without sacrificing the direct physical impact of its heavier passages.
What makes ‘Mountain‘ so effective is the way its progressive elements support the overall arrangement rather than distract from it.
This is Enslaved at their most forceful, and the result is outstanding.
A very different atmosphere emerges with ‘Spirit Helper‘, featuring Kevin Kicking Woman.
The song opens with Native American singing, immediately introducing a spiritual dimension that distinguishes it from the surrounding material.
The combination of cultural influences, atmospheric passages and the band’s established musical language creates a remarkably immersive experience.
There is something particularly natural about the way the composition unfolds.
Rather than forcing its different elements together, Enslaved allow the music to flow freely, encouraging the listener to become absorbed in its atmosphere.
The result is imaginative, evocative and respectful in its presentation of the guest contribution, offering one of the album’s most distinctive moments.
‘Parting‘ takes the progressive exploration considerably further.
Running for 8:17, the composition unfolds through a succession of contrasting moods, intricate instrumental passages and atmospheric developments.
This is a track that deserves to be heard at considerable volume, allowing its numerous layers to reveal themselves fully.
The interaction between guitars, keyboards, bass and drums is especially impressive.
Changes in tempo and intensity arrive naturally, while quieter passages provide the necessary contrast to the heavier sections.
Despite its length and complexity, the composition never loses its sense of direction.
What makes ‘Parting‘ particularly rewarding is its ability to create atmosphere without sacrificing momentum.
Every transition contributes to the larger musical picture, and the arrangement develops with a confidence that reflects the band’s extensive experience.
It is a beautifully constructed piece and one of the album’s most satisfying progressive statements.
With ‘Tales of Trees‘, Enslaved turn towards an atmosphere deeply connected to nature.
Progressive structures, black metal intensity and folk influenced rhythms combine in a composition that almost demands to be experienced while walking through a forest.
There is an organic quality to the music, with shifting rhythms and melodic developments creating a sense of constant movement.
The heavier passages retain the darkness of the band’s early influences, while the progressive arrangements introduce unexpected changes that keep the composition interesting throughout.
The vocals are particularly effective here, contributing significantly to the song’s character.
Rather than overwhelming the instrumental arrangements, they become part of the atmosphere, strengthening the connection between the music and its natural imagery.
‘Tales of Trees‘ is another excellent example of how Enslaved can combine complexity with emotional impact.
The album concludes with ‘I Miðju‘, its longest composition and a fitting return to the central concept of ‘Mið‘.
After the contrasting musical landscapes explored throughout the record, the closing track brings the themes of balance, transition and opposing forces into a broader perspective.
Its extended duration allows Enslaved to develop the music gradually, moving through heavy riffs, melodic guitar passages, atmospheric textures and changing rhythmic patterns.
Rather than simply repeating the most aggressive elements of the preceding songs, the composition establishes its own identity and provides a satisfying conclusion to the album.
There is a sense of completion here without the music becoming predictable.
The arrangement leaves room for reflection, encouraging the listener to consider the journey as a whole rather than treating the closing moments as an isolated statement.
What ultimately makes ‘Mið‘ such a rewarding album is the confidence with which Enslaved continue to develop their musical identity.
The band’s black metal foundations remain unmistakable, but they are now part of a much broader musical language that embraces progressive structures, melodic experimentation, spiritual themes and atmospheric depth.
The production allows the individual instruments and contrasting vocal approaches to contribute to that larger picture, while the songwriting maintains a convincing balance between technical sophistication and emotional expression.
Even during its most complex passages, the music never feels like an exercise in technical ability alone.
‘Mið‘ is another strong demonstration of why Enslaved remain such an important presence in progressive black metal.
Their willingness to explore new musical territory has not weakened the aggression or darkness that originally defined them.
Instead, those qualities have become part of an increasingly rich and distinctive sound.
For listeners who appreciate extreme metal with imagination, atmosphere and genuine progressive ambition, ‘Mið‘ offers plenty to discover.
From the crushing intensity of ‘Mountain‘ to the spiritual atmosphere of ‘Spirit Helper‘ and the expansive arrangements of ‘Parting‘ and ‘I Miðju‘, this is an album that rewards attention and repeated listening.
Enslaved have once again found a way to move forward without leaving their roots behind, and ‘Mið‘ is a powerful reminder of just how rewarding that musical evolution can be.
8.5/10 review by Georgina