Parkteatret, Oslo
January 3 – 4, 2025
Orgivm Satanicvm was first held in 2019 as a small one-day festival at Blå, organized by Anlov P. Mathiesen. It received a significant upgrade the following year, expanding to two days with many more bands. Naturally, the festival was not held in 2021 and was subsequently put on hold. In 2024, Helene Landmark and Espen Rock Nørvåg Slapgård took over and moved the festival to Parkteatret.
I have mixed feelings about Parkteatret as a festival venue, even though several great festivals have been held there, such as Bunker Festival and Raise the Dead Festival. My main issue with Parkteatret is that everything takes place in a single hall with no seating options. This also means that every soundcheck has to be endured, which becomes quite tedious. Of course, there is the option to step outside between performances… but January in Oslo is rather cold and bitter. Naturally, the organizers cannot be blamed for this, but it does factor into the overall experience.
There is little to complain about regarding the festival itself. Everything runs smoothly for the most part, and the schedule is kept fairly well. There are some delays, but that is the downside of having everything on one stage. The atmosphere is great, and everything appears to be well planned.
FRIDAY
Inferno comes from the Czech Republic and has been active since 1996. Their debut album was not released until 2001, but since then, they have put out eight albums. Despite their long career, this was their first concert on Norwegian soil. Visually, the band places all emphasis on the video projected behind them. The members themselves remain motionless, hidden under their hoods. The video features abstract imagery that I cannot quite grasp. Musically, everything aligns well, but the performance itself is utterly boring. Unfortunately, as the concert progresses, I find myself so uninterested that I just look forward to it ending.
Things improve significantly when Order takes the stage. The band initially garnered attention for including two early members of Mayhem, Messiah and Manheim. Additionally, Odden from Cadaver is on guitar, and Stu Manx from Gluecifer plays bass. This experienced lineup knows how to create a powerful performance, maintaining strong momentum throughout. The audience is also much more engaged. Particularly when Order closes with the Mayhem classic “Deathcrush.” I miss the song “Torquemada,” which was the first track that caught my attention from the band. It is a shame that it is no longer in their set.
James McBain, better known as Hellripper, hails from Scotland and plays thrash metal infused with black metal and speed metal influences. In other words, it is fast-paced and high-energy from start to finish. There is no time to catch one’s breath, to put it mildly. Hellripper is backed by a solid live band, and drummer Max Southall, in particular, stands out with his hard-hitting performance. If I am seeing correctly, he is also playing barefoot, much like Nicko McBrain. However, Hellripper himself owns the stage and is engaging both during and between songs, occasionally quite humorous as well. There are no visible signs that he visited the emergency room due to illness the day before.
When attending a Hellripper concert, it helps to be familiar with the songs beforehand. Otherwise, it may all sound somewhat similar. But when you delve into the material, there is plenty of variation in the riffing—especially on Hellripper’s latest album, Warlocks Grim & Withered Hags. The riffs come one after another in rapid succession. A track like “Goat Vomit Nightmare” energizes the crowd, building up to the festival’s largest mosh pit by far. Mosh pits are not a common sight at Orgivm Satanicvm, but Hellripper certainly gets the audience moving. With three strong albums under his belt and still under thirty, I believe Hellripper has the potential to go far. He certainly proves that tonight.
Ruïm is the latest addition to the long list of bands featuring Blasphemer. He is perhaps still best known for his years as guitarist and songwriter in Mayhem. But he has also been involved with Aura Noir, Vltimas, and Twilight of the Gods. However, Ruïm stands out because Blasphemer handles vocals in addition to guitar and bass. This is actually Ruïm’s very first concert, and it is surprisingly well-executed for a debut. The stage is beautifully decorated, and the atmosphere is intense. So far, Ruïm has only released Black Royal Spiritism – I. O Sino da Igreja from 2023. But to add some surprises, Wraath from Darvaza joins in to perform the Mayhem classics “Fall of Seraphs” and “I Am Thy Labyrinth” from Wolf’s Lair Abyss.
SATURDAY
Darvaza consists of the duo Omega from Italy and Wraath from Norway. But when performing live, they naturally bring a full band. Wraath takes most of the attention, as he is a skilled frontman who knows how to engage the audience. However, the rest of the band is also excellent, resulting in an energetic show. Beyond that, I do not take away many specific impressions from the concert. Perhaps because Darvaza delivers a more traditional black metal performance—one that has been seen many times before. However, it is a safe bet, and I enjoy what Darvaza brings to the stage.
Doedsmaghird is Vicotnik’s new project, making this their debut concert. The name itself hints at a connection to his main band, Dødheimsgard, as Doedsmaghird is an anagram of Dødheimsgard—well, almost. But Doedsmaghird is even more absurd and eccentric than Dødheimsgard. That is what I like about Vicotnik, or Mr. Vicxit Baba Maharaja, as he calls himself here—there are no rules or limitations on what can be created. As a result, it becomes unique and unconventional. This applies to the stage show as well, where Vicotnik wears a checkered suit for the occasion. Behind him, a video display of spirals and patterns enhances the psychedelic atmosphere. The performance is entirely its own thing, and Doedsmaghird deserves recognition for that, even if it may be too eccentric for some.
Swedish Craft has undergone a major update since last time. Their new frontman is Norwegian, goes by the name Mannevond, and is best known from Koldbrann. This guarantees a powerful performance filled with raw energy. I appreciate Craft’s music—it has plenty of groove and enough variety to keep it engaging. The same applies to their performance tonight. The audience seems to enjoy it as well, responding enthusiastically. With five albums released, they have plenty of material to choose from. That being said, it is probably time for something new, as their last album came out in 2018. Hopefully, it will not be too long, as they premiere a new song titled “The Black Tower.”
Italian Mortuary Drape is one of the earliest black metal bands, with roots dating back to 1986. That said, they are also one of the first-wave bands that have never really stood out or made a major impact—despite multiple attempts. So, it was interesting to see if they could finally convince me this time. Visually, the performance quickly loses my interest. Hiding behind hoods makes it feel impersonal. Additionally, many bands in the genre have used this look, making it ineffective. To Mortuary Drape’s credit, they were among the earliest to do so. However, only vocalist Wildness Perversion remains from the 1986 lineup. The rest of the band joined in 2010 or later. That does not sit well with me, as it makes them feel more like a cover band over time.
That being said, this does not matter much in this case, as I have not followed the band closely. Perhaps that works in Mortuary Drape’s favor because they deliver an impressive show. The music sounds great, and the band performs tightly. The bass may be mixed a bit too high, but the bassist plays well, so I will not complain. Overall, I think Mortuary Drape delivers a solid concert, even though I remain unconvinced as a fan.
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