Mortem was originally known as the Norwegian cult band which preceded Arcturus. Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted and brutal 'Slow Death' demo, with Euronymous & Dead of Mayhem acting as producer and cover artist respectively (whilst also featuring Hellhammer on session drums). After the release of 'Slow Death', the band was laid to rest, with members going on to form and feature in acclaimed titans such as Arcturus and Thorns, both of which would become mainstays in the black metal scene and beyond.
It wasn’t until 2019, when Mortem’s studio debut 'Ravnsvart' was released, and the magic of old undoubtedly returned with that same spirit and brutality of the original incarnation..

On this profoundly intimate, airy, and beautifully translucent 2010 studio album, veteran Norwegian double bassist Terje Gewelt delivers a sublime, high-fidelity masterclass in drumless acoustic interplay. Aptly titled Azure, this Resonant Music release presents a soothing, spacious blend of acoustic instrumentation heavily inspired by the coastal horizons of Gewelt's native Norway. Operating without a drummer, the record breathes freely, highlighting the exquisite textures of Gewelt’s rich, resonant upright bass alongside the articulate acoustic steel and nylon-string guitar work of Staffan William-Olsson and the warm, old-world coloring of Alfred Janson's accordion. The trio's exquisite sonic ecosystem is further enhanced by legendary Norwegian jazz vocalist Karin Krog, who lends her authoritative, deeply intelligent phrasing to three choice cuts. Flowing effortlessly through mesmerizing rubato landscapes, elegant bossa nova cadences ("Let Your Fingers Do the Talking"), and haunting traditional Norwegian motifs ("Vi skal ikkje sova bort sumarnatta"), this pristine acoustic session is an indispensable atmospheric treasure for modern chamber jazz collectors.

On this profoundly meditative, spacious, and breathtakingly intimate 2013 studio release, acclaimed Norwegian pianist and composer Jan Gunnar Hoff delivers a high-fidelity masterclass in solo acoustic architecture. Released via the legendary audiophile imprint 2L, Living is a stunning solo piano document recorded in the pristine acoustic environment of Norway's Sofienberg Church. The album captures Hoff at a peak of introspective lyricism, blending the deep, open spaces and folk-inflected melancholia of Nordic jazz with the rigorous, delicate structural touch of modern classical impressionism. Every note hangs in the air with majestic clarity, vibrating with the natural, resonant reverb of the cathedral setting. Hoff's touch is remarkably nuanced, moving from the quiet, searching beauty of the title track to evocative interpretations of traditional treasures like Adolf Thomsen's "Barndomsminne fra Nordland." For audiophiles and lovers of pure, unaccompanied piano craftsmanship, this pristine, expansive 2L document remains an essential, deeply moving auditory sanctuary.

Kerrs Pink is one of the few Norwegian bands that chose to play Progressive rock music. But what a great choice it was! Since the second part of the Seventies and its first eponymous album (1980), the group led by Harald Lytomt and Jostein Hansen mixes Scandinavian folklore and refined English art-rock music in the manner of Camel ("Mirage" era). The following year, "Mellom Oss" pursued and bettered this subtle blend, with even more symphonism. Hardly all titles were re-recorded by the group (For better sound quality) to be included on the reissue, along with six bonus tracks.

Kerrs Pink is one of the few Norwegian bands that chose to play Progressive rock music. But what a great choice it was! Since the second part of the Seventies and its first eponymous album (1980), the group led by Harald Lytomt and Jostein Hansen mixes Scandinavian folklore and refined English art-rock music in the manner of Camel ("Mirage" era).
This is quite relaxed progressive rock in general with lots of psychedelic elements, light Folk influences and a heavy amount of melodic guitars. Lymtot is in the center of the arrangements, delivering very melodic work in the vein of Andy Latimer with nice solos here and there, but the Norwegian vocals add the appropriate Scandinavian flavor. The calmer parts have an intense Blues/Psychedelic feeling, while Haugerud seems to be playing a b-role, despite using a variety of keys…

Norwegian trio Building Instrument - Mari Kvien Brunvoll, Åsmund Weltzien, Øyvind Hegg-Lunde - returns with new sounds full of dreamy pop hooks, sparkling synth textures and beguiling lyrics about the moon, spirit, animals and the experience of simply being alive. As the pop sensibility is filtered through an aesthetic of playful experiment, the gorgeous, brightly hued tunes and seductively shiny textures share house room with avant-garde sound-art. If you want to hear delicious ear candy intersected by spooky instrumental vignettes or a brief snippet of a car engine stalling, here’s where to find it. The result is a compulsively listenable album whose deceptively poppy surface unpeels to reveal a whole underworld of intensely-worked immersive improvisation.

Norwegian singer Rebekka Bakken is one of Europe's most charismatic voices. With her unique blend of jazz, folk, pop, and Nordic melancholy, she has created a distinctive place in the international music scene. Since the early 2000s, she has released a string of acclaimed albums, including "The Art of How to Fall", her celebrated Tom Waits tribute "Little Drop of Poison", and most recently "Always on My Mind". Her powerful yet fragile voice and captivating stage presence have earned her a devoted following across Europe and beyond.

Octopus from Norway (don't be confused to countless bands with same name) was and is an obscure prog band gone unnoticed in prog circles. They released only one album in 1981 named Thaerie Wiighen (taken the name from a hero from literature of famous norwegian writer Henrik Ibsen). There is not much to find about this band or when they were disbanded. The music offered is pretty good all the way, symphonic prog with a nordic feel very similar in places with Bo Hansson releases , with some spacey moments here and there with an Eloy atmosphere, lots of instrumental sections aswell. Excellent are the keyboards passages very reminescent of Rick Wakeman or Genesis, some parts remind of Kerrs Pink. All in all a very solid album gone under the radar, definetly worth checking.

On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Frøislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krødsherad Prestegård, which also inspired a poem of the same name by Jørgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time.