Winter Mass
Artist: 1349
Genre: Black Metal
Release Date: 28 November 2025
On 28th November 2025, through Season of Mist, Norwegian Black Metal legends 1349, following the release of their 8th studio album, “The Wolf & The King”, in 2024, are set to release their 2nd live album, “Winter Mass”, which was recorded at Parkteatret in Oslo (Norway) on 20th November 2021.
The name 1349 refers to the year the Black Death struck Norway, representing the devastation, darkness, death, and despair—themes that are very much present in Black Metal.
Formed in 1997 by vocalist Ravn (who was also the band’s drummer from 1997 to 2000), accompanied by bassist Seidemann, the band’s current line-up features Archaon (who joined in 1999) and Frost (in 2001, who is also the drummer for fellow Norwegians Satyricon). They fully represent the best of Norwegian Black Metal in a raw, deadly, and pitch-black manner.
Over more than two decades, 1349 have wreaked “havoc” and set alight various legendary stages in the Metal and Black Metal world, such as: Wacken Open Air, Hellfest, and Inferno Metal Festival.
The Black Winter Mass of 1349 begins with “Enter Inferno”. Accompanied by the charismatic and black art, drummer Frost takes to the stage, followed by guitarists Archaon and Destructhor, and bassist Seidemann. Finally, vocalist Ravn enters, and the destruction commences.
“Sculptor of Flesh” (Hellfire)
A figure who grotesquely shapes the world according to their will; the morality and rise of a destructive power embracing the inner beast. This is an ode to the chaos of the anti-Christ, who uses their mental power in conjunction with darkness to annihilate and reshape the world, freeing themselves from all religious and social restrictions. The track’s superb execution is highlighted by the strong presence of Frost, the drum master, demonstrating his insane blast beats. Its sound transports us to destruction and chaos. The chaos is followed by the striking and dissonant riffs of Archaon, accompanied by Destructhor.
“Slaves” (Massive Cauldron of Chaos)
One of the most important tracks in their discography, it begins with blast beats and extremely fast and dissonant riffs typical of the Black/Thrash sub-genre. The dark and icy atmosphere of 1349 becomes increasingly intense. “Slaves” represents the state of mind of mental imprisonment—being a slave to oneself and to the delirium of the darkness’s chaos.
“Through Eyes of Stone” (The Infernal Pathway)
The icy and intense riffs take us on a quest for the power of eternal existence, addressing the limitations of human life and mortality, to be achieved through the abandonment of all earthly and divine qualities. A celebration of aggression as the purest state of a being.
“Cauldron” (Massive Cauldron of Chaos)
A violent work of art by 1349, the cry of chaos and revolt in Ravn‘s voice. Its turbulent atmosphere comes to the fore; the anti-existential idea, the profane terror spreads—the day does not break, and hope no longer exists.
“Striding the Chasm” (The Infernal Pathway)
A change emerges, with more atmospheric moments, moving slightly away from the constant sonic speed of the tracks played earlier. It begins with the band’s typical sonic assault, with Frost‘s blast beats at a dizzying speed and cutting riffs, but moments later, a more measured and menacing rhythm begins to emerge, separating it from the relentless attack of previous tracks like “Cauldron”. The theme of “Striding the Chasm” refers to existential risk, the acceptance of living dangerously on the brink of madness.
“Chasing Dragons” (Beyond the Apocalypse)
Ravn‘s vocals stand out, and the song’s structure differs from the previous ones. The execution of the tracks remains perfect, and the dark, philosophical tone elevates the theme. It is a declaration of power achieved through the rejection of human order, embracing cold instinct—an anthem to the destruction of the emotional, moral, and physical boundaries imposed by the human condition.
“Serpentine Sibilance” (Revelation of the Black Flame)
The nature of the serpent, a symbol of deceit and hidden wisdom, is the tempting voice of darkness, with a poisonous whisper, luring the listener into the abyss. Melodic riffs and slower sections emerge, and the icy atmosphere makes Ravn‘s vocals stand out once again.
“I Am Abomination” (Hellfire)
Although it maintains characteristic bursts of speed and blast beats (courtesy of Frost), the song uses rhythm changes and slower parts that allow space for dissonance and atmosphere, and the riffs become more complex. It is a direct and powerful declaration of self-identification with what is considered profane—a way of finding power and identity in what is feared and condemned, rejecting salvation or redemption.
Here is the official video for the track “I Am Abomination”. Contemplate the atmosphere of chaos entering Oslo.
“Golem” (Massive Cauldron of Chaos)
The title and lyrics refer directly to the Jewish myth of the Golem, an artificial being made of clay animated by mystical means to serve its creator. The theme addresses the individual who allows themselves to be shaped and controlled, becoming a soulless tool in the service of another.
“Atomic Chapel” (Hellfire)
Aggressiveness comes to the fore in the most relentless way possible—a demonstration of the true essence of Norwegian Black Metal. The blast beats form an unforgiving wall of sound, followed by a huge dark atmosphere marked by sonic contrast, with melodic and atmospheric guitar. Ravn‘s voice changes register, an example of a true black mass with variations within all its profanity. It superimposes the sacred and the religious with the atomic, resulting in an apocalyptic image. It suggests that the traditional place of faith and refuge has been replaced or annihilated by a force of technological destruction; it is a celebration of total annihilation through the power of modern chaos.
We enter the penultimate track of 1349‘s winter mass, with a song that has a peculiar and unique meaning for the band—something out of the ordinary.
“Dødskamp” (Dødskamp Single/The Infernal Pathway)
Originally released as a single in 2019 before being included on the album The Infernal Pathway. It is a musical interpretation of a work of art by the Norwegian expressionist painter Edvard Munch. Munch’s painting addresses themes of anxiety, pain, and mortality, often focusing on loneliness and the inevitability of death. Archaon revealed that this was an “emotionally heavy” task and an entirely new way of composing. The project was an invitation from the Norwegian government (Innovation Norway, Visit Norway, and the Munch Museum) which asked four Norwegian artists from different genres to interpret a work by Edvard Munch. Its sound is constantly dominated by the characteristic blast beats accompanied by bassist Seidemann, maintaining an extremely fast and frantic rhythm. However, instead of being purely chaotic, they are constructed to sound distressing.
“Abyssos Antithesis” (The Infernal Pathway)
The final track features a strong Blackened Thrash influence (a mix of Black Metal and Thrash Metal), composed of fierce riffs and a halftime section by Frost that amplifies the Thrash Metal groove. Written by Destroyer (from the band Nocturnal Breed), it is deeply rooted in occult concepts and the philosophy of Ascent through darkness. It manifests the proclamation of a supreme and chaotic power.
The winter mass ends, a true anthem to Norwegian Black Metal in the land that saw them born and grow. Once again, one surrenders to its black, deadly, and chaotic atmosphere. This is a live album that will be talked about both in Black Metal “lairs” and in the wider Metal scene, both for the excellent choice of tracks played and for the incredible and surreal execution by all the members of 1349—proof and explanation of why they are universally one of the most acclaimed and important Black Metal bands both in Norway and globally.