Review by Jeger on December 2, 2025.

A true son of Norway… Taake - Norwegian for "fog" - a veritable Norse institution and Taake visionary, Hoest, has spent his career personifying true Norwegian Black Metal like no one else. There's a LOT that separates Black Metal from most other sub-genres. Mainly, it's in the way that it strikes up such passion in its Artists, because Black Metal is a way of life, a conduit for pride in both heritage/homeland and a vessel for various currents of spirituality. With Taake, you get a little bit of all of it. Throughout Taake's establishment, Hoest has conceptualized themes pertaining to Satanism and Anti-Christianity, National pride and Norway's beautiful yet oft times unforgiving natural environment.

This is why true BM is a thing. True Black Metal is authentic. It's genuine and from the heart, whether it be the darkest or the most illuminated side. Shit like Borgir and Dark Funeral is not Black Metal. Once a band signs that major label contract, that is the moment that they cease to be a Black Metal band. Won't happen here. Taake, in band or soloist form is the poster project for the Underground and the pride, the integrity that lies therein. Hoest has also proven to be a priceless collaborator; having joined bands such as the mighty Gorgoroth, Urgehal and Carpathian Forest as a live performance musician. The guy just bleeds Norwegian BM. And in 1999, four years following the project's official formation, in soloist form, Taake released its debut LP, "Nattestid Ser Porten Vid", via Wounded Love Records.

When compared to its Norwegian counterparts: the aforementioned Gorgoroth, Mayhem, Emperor and Satyricon, Taake is a more experimental project. Nothing weird or off-putting, just a propensity for more complicated compositions, and that can most certainly be said about "Nattestid Ser Porten Vid". The opening track, "I", has contrasting parts that somehow fit together seamlessly - racing along one moment and grooving along the next. The whole thing just feels so much more professional and mature than most of the stuff that was coming out of Norway in the '90's. Sound quality is a perfectly balanced union between texture and rigidity. The talent is superior (except when compared to Emperor obviously). But more than anything, "Nattestid Ser Porten Vid" is the product of deep, long-running passion and that passion bleeds through "II". A fist-clincher! An album cut of the blackest purity: driving rhythms, commanding guitar riffs and the pulse of the entire track, the bass, like a force of nature as it powers the experience forward alongside an equally powerful percussion contribution where Hoest is forced to have to keep up with his own frenetic guitar play.

It feels as if the songs get a bit more elaborate as we move along. Each one has been a delightful surprise so far, as I've found myself in awe of Hoest's ear for melody and enraptured by his compositional savvy. "IV" marks the midway point - a breathtaking instrumental and a statement as to what a mind for BM Hoest does possess. With "Nattestid Ser Porten Vid", Taake makes the competition sound like Jerry's Kids. An album way ahead of its time yet steeped in tradition with a more-than-brilliant creator. "V" is a sinister cut that unfurls with darker shades of sound: a little more aggressive, a little more angry and little more heavy. "VI" is equally wicked. Everything is building up to climax and how invigorating does it feel while the energy becomes wilder in anticipation of "VII". Okay, we're just showing off now during the album's final nine minutes. In finality, Hoest has put together one for the books. What vision! What heart and what fucking balls. Man, what a remarkable album. Great finish.

I absolutely loved the feel of this record. All phases marble together with complex patterns, but they're arranged in a way that conveys this rich, simple and wholesome vibe that only further separates Taake from the rest. Taake has gone on to release a slew of great records, he's done some epic interviews and has been deeply involved in his Bergen community as both an ambassador of Norse pride and a DJ at his local club. True… fucking… Norwegian Black Metal is what's in store for you, my friend and it doesn't get much sweeter. Let the fanfare commence! Because this one's a beaut…

Rating: 10 out of 10

Review by Carl on July 6, 2023.

With an excellent band name and an album cover that seems to depict a cannibal walking buffet, this caught my attention alright. That it was released on Extremely Rotten Productions also helped, so here we are, about to vent an opinion that nobody asked about, but which I will provide nonetheless. You're welcome.

Seep deals in a putrid sort of death metal that places heavy emphasis on slow lurching parts, with deep gutturals and heavy distorted riffing, kinda like Autopsy deciding to try their hand at brutal death metal. Doomed-out passages are interspersed with somewhat more uptempo parts to create a gruesome atmosphere of unnamed impending dread about to come down. Faster parts are thrown into the mix occasionally, providing some needed variation from the sickly suffocation of the dirging parts, although they never last long. It is an approach that actually works very well in the big picture, making the menacing slow sections even that more harrowing. And while the names of Mortician, Necrophagia and early Pungent Stench came to mind at times, with Seep borrowing elements from all these acts, it never sounds like a copy. On top of all this there is made room for weird guitar sounds and some well-placed keyboard ambiance here and there, adding an even more uneasy angle to the diseased death metal on offer. It is a formula that certainly works, and you could place Seep between other likeminded acts like Sanguisugabogg and Fluids, who also deal in unsettling downtuned unpleasantness.

While the music is a cool dose of enjoyable repugnant death metal, there are a couple of things that I want to address, and first is the naff drum computer that knocks the balls out of the whole somewhat. The overall heaviness makes up for this, but a percussionist of flesh and blood would certainly be a good addition to the grimy death metal of Seep. As a second, to my liking there are a tad too much spoken parts on here. This is purely a personal thing, but it is something that seldom adds anything of worth to an album in my opinion. Apart from these two points, a solid death metal release without doubt!

In essence, Seep is an old school death metal band in the vein of those mentioned before, but seen through a (Mortician-like) brutal death metal lens. In recent years there have surfaced more bands doing something similar, and Seep are certainly a more than worthy addition to the ranks.

All into squalid, heavy and putrid death metal, take heed!!

Rating: 7.5 out of 10