APRIL 18 - 20th, 2025
INFERNO FESTIVAL 2025
DAY 2 - 4

Gallery - Day 2: http://www.metaltitans.com/concertpics/inferno-festival-2025-day-2/
Gallery - Day 3: http://www.metaltitans.com/concertpics/inferno-festival-2025-day-3/
Gallery - Day 4: http://www.metaltitans.com/concertpics/inferno-festival-2025-day-4/

Review By: Dmitry Sukhinin
Photos By: Polina Kulikovskikh

Aeons ago, in the days of the living Zyxel Omni 56K (I had that sexy transparent green box version!!), Napster, and other P2P platforms (yarr!!), people used to burn CD-RWs and pass them around. One day, I got a small parcel from a friend in the US — it contained music videos (postal services were way faster than Zyxel). Among them was raw footage of a full Dimmu Borgir gig, filmed by someone in the audience. The quality was dreadful — which somehow made it even more atmospheric. And yes, it sounds terribly naive now, but seeing “live at Inferno Festival” in the file name made it all the more mesmerizing. “What a cool festival name,” thought the teenage me. “I want to go there and see it live.”
I finally could — ten years later, in 2012.

Torggata Bad, the grand old public bathhouse, turns 100 this year. Stepping inside feels like entering another dimension — how can so many clubs, stages, bars, and offices be hidden within? What better heart for Norway’s rock scene? In 2025 we stand staring on the main stage right from the swimming lanes - at water level. Another change - everything is black.

Those who’ve been to Inferno multiple times know it follows a kind of cycle — many of the same bands return every two years. This is one of those years again: black metal-heavy. If it works, let it be. Maybe the late Jan-Martin Jensen, who put Oslo on the global extreme music map, cracked the code to keeping the scene and festival alive.

Unfortunately, I’ve missed the first and seemingly the best day of 17th of April, when it comes to my personal tastes, but let’s see what 18, 19 and 20 of April bring.

April 18
I witnessed the longest queue to Rockefeller I’ve ever seen. A good sign — but I was hoping it would move fast enough to catch Gaerea, who opened the day. The festival setup changed this year — the venue now has external fencing, like an open-air festival. This streamlined security and helped the line dissolve quickly. While standing in the queue, there was also a check if the visitors had wristbands - so that they would not stand in vain - the ticket office was another door. A welcome improvement!
Inferno now spans several stages across nearby blocks. I’m focusing on the main one: Rockefeller. Cannot catch them all.

Gaerea opened with an intro and a beautiful stage setup: two huge semicircle light structures flanked the band. As usual, the sound improved by the third song. Visually, they’re far more compelling live than in their promo shots. It was already packed — impressive for 16:30. Then — slam! Someone hits me. A real circle pit. In Norway! That’s a once-a-century event. Clearly, Gaerea’s material hits a nerve, even if it’s not my cup of tea — I don’t hear any hooks. But the future looks promising.

Blood Incantation is that band that is not supported by any big label, so it feels like the big magazines and webzines simply ignore them. Yet, by word of mouth, they are one of the most discussed bands for years. I wish this so-called “industry” would be a bit more fair to actual art and of publications, not only when they get paid to publish news as part of some promo package deal.

I really got into Blood Incantation when they released their last record, “Absolute Elsewhere”. To me, it is another level compared to their previous ones, that were embraced by the scene.
They are now 5 people, with an addition of a keyboard player. Stage has two obelisks with hieroglyphs.

Already on the line check I hear how insanely loud everything is. And not in a good way. The sound engineer really needs to calm down, - this is just bad. During the set, the death metal moments are just completely unintelligible. It gets better with time, but in general - this is how you should never run the sound of your band.

But then there are absolutely beautiful prog moments! Pink Floyd influences are strong, and I love it.

The 2nd song starts very disharmonic. Playing wrong tunes (Spinal Tap would call it jazz) or avant garde? The second, I believe - everything is very well played. Isaac Faulk, the drummer, is fantastic, - so are the others, I am sure, it is just the sound guy who makes heavy moments unlistenable and undistinguishable.

What I enjoyed the most is the Pink Floyd moments. Cut out the death metal parts, and the band is just pure prog perfection. I like that they are taking this step, just like Opeth did, - and, perhaps, we will get more prog in the next record? Let’s hope so!

Kylesa were slightly delayed, but had a much more controlled sound. Playing at a festival is always a portion of stress, and it is visible that Kylesa needed more time to set up. Sound-vise, Kylesa is the opposite of Blood Incantation. The vocals drown upstairs, but the rest is audible. It is a very nice combination of two different vocals and two different guitar sounds. Laura Pleasants does some slow tapping, her guitar sounds less sharp than Phillip Copes. The mix could be improved with some careful touch, but hey, it is a sludge. The set is a number of fast-paced sludge.

It feels like it was recently, but the last time I saw SepticFlesh was 10 years ago. Fellaz started late too, but then it was another level - lights, sound - a true highlight of the day. Vocals of Spiros Antoniou (aka Seth Siro Anton) have become even lower and, damn, what a great showman he is! The Vampire From Nazareth with Christos Antoniou and Dinos Prassas windmilling in different directions, We the Gods from Communion (unusual choice!), and many more - longer than an hour-long setlist from the latest release to Sumerian Daemons.

Very good mix, Spiros was playing more bass as usual, while maintaining gesticulation and warning the audience with “are you ready?” and “are you ready to destroy, my friends?”. For some reason Spiros had to get his bass off on a piece of Pyramid God and then on the very last track. On Communion I notice some vocal effect (octaver?). Then mandatory Anubis as the pre- final one.

I love the set and the only thing I would push up is clean vocals on the backing tracks. Till next time!

1349 are closing the day. It is like a true curse, I have seen them a million times already - they seem to get booked to every gig I have wanted to see. But this time they are headlining the day.
Smoke machines create an aura all around - with transparent air in the middle looking like a black cloud. This time 1349 have a more balanced mix, with kick drums not destroying the ear membranes. Bass competed with the kicks, but otherwise it is good for fans of straightforward black metal.

April 19
“Lords of Chaos,” the book published in 1998 by Michael J. Moynihan and Didrik Søderlind, is arguably responsible for giving careers to a number of bands on today’s stage. Coven is definitely one of those, brought back to the spotlight largely because of that publication. I never thought I’d have a chance to see Coven live—they launched in 1969. Witchcraft Destroys Minds & Reaps Souls is a very solid rock album.

Their set began with an extended intro, "Satanic Mass," which seemed to last a quarter of the performance. A coffin stood center stage, surrounded by black-robed figures, while the projector showed an image of their original lineup. Then Jinx Dawson emerged in a mask, and the band began. Coven has a new lineup now, unsurprisingly, but they sounded excellent. The retro rock was top-quality, and I really enjoyed it. The music was supported by strong backing vocals from the guitarist and bassist, giving it a more modern feel while keeping the original spirit. As for the lead vocals—none were present during the first song because of the mask. After it was removed, we finally heard Jinx, though the vocals fluctuated in volume throughout, making some parts difficult to hear. The tone is still there, but understandably, hitting those notes after more than fifty years is no small task. Still, I’m happy to see them exhumed and delivering high-level musicianship.

Strangely, the early crowd was much smaller than the previous day. But I finally got to see Cadaver— one of Norway’s oldest death metal veterans—live. They played as a trio: Anders Odden on vocals and guitar, Eilert Solstad on upright bass, and someone who looked like Bjørn Dugstad Rønnow on drums.

It was one of the best guitar tones I have ever heard live. And the mix was just perfect. Opening with a great delivery of Decomposed Metal Skin (it is Ole Jørgen Moe from Aura Noir who sings on the original). Anders then addressed the audience in Norwegian and English, figuring out it is 50-50 in Rockefeller today. The Age of the Offended is next, sounding better than the original. Again, the mix was flawless, - you could hear absolutely every nuance. Every guitar strike, bass notes, kicks, every tom. Then comes Death Has to Wait from the upcoming album (to be released 25th of April this year).

“So you want something old? This song is 1 year older than our drummer, he is 34”. Innominate. Tight. Cadaver is a real highlight of today.

Anders is not a person that likes to talk much, you can hear this even by the tone of his voice. But this time, it is a personal story. “In February Jan-Martin died from cancer. In October he called me and said “Hi Anders, Do you wanna play?”. “This is how he used to book gigs.” Anders is a cancer survivor. “When we were young, we did not understand life like we do now. So.. this song is called Mr. Tumour's Misery”.

It ends with the I don’t give a fuck song. Again, such a beautiful gnarly guitar tone, but what is most important - one cannot take it for granted to have a chance to see these bands live, and having such a stellar performance. This was insanely good!!!

Aura Noir is next on the list. Their current lineup is a concentration of talent. Best black metal guitar players, multi-instrumentalists, every project of these musicians outside of Aura is a pearl. Ved Buens Ende, Virus, Ruïm and avantgarde albums of Mayhem, Obliteration and involvement of countless of greatest bands.  Yet.. well, what to even start with?

I really like the Hades Rise album, but I still remember embarrassing myself once recommending the band to a friend - shortly after listening to only that album. We were driving somewhere, chatting, and as I mentioned it, my friend put it on right away. Spotify - their most listened to songs.. And it was just terrible - from the quality of the recordings to the material itself. After several songs we had to pass, he just said, “Sorry I cannot sustain such a low quality”.

But Aura Noir is a mega influential act. They have created a cartload of copycats playing similar, just identical thrash death acts - so there is something that really ignites the locals. Maybe it is good live?

Black Thrash Attack is the opener that instantly shows the importance of a sound engineer. It sounds just terrible. Such a contract with Cadaver. The delay effect on Rune Eriksens guitar sounds cheap, bass drums are low frequency drone noise, guitars sound like there are no cabinets - they go straight to the PA, all vocals sound bad too (mainly due to effects).

But the dudes play really well, it is just the choice of the sound that completely destroys it. I will definitely give them another chance, but this time it was a downer.

I escape to a smaller stage in the same building, John Dee, to see Abyssic. Abyssic is a synth heavy doom with a real contrabass and, as I learned (surprise-surprise), massive 90th Dimmu Borgir vibes. The smoke and lights make it not possible to see how many people are standing on stage, but I can instantly hear Tjodalv drumming - his typical breaks and cymbal work. Vocals are gorgeous. It is a very pleasing material. The contrabass is acoustic, so the mix needs a bit more of it - the big thing cannot compete with guitar, drums and another bass. Slow moments would contribute from some more reverb on drums, - it is doom metal after all. Do not make the drums sound so dry. But damn, what a great act - I cannot leave them - so satisfying it sounds and such a soothing effect this music has.

My Paris trip in 2008 was really rich for concerts. This is also when I saw Rotting Christ for the first time. Rockefeller line check was promising. Rotting Christ has grown in every sense since those days—stage production, lighting, and most importantly, musicianship. This was a performance of seasoned veterans.

Dynamic mix, - it was clearly audible when some guitar part was elevated for better effect, and a perfectly thought-through set. It had both fast and slow songs - superb performance.

I attempted to catch Seth at John Dee, but it was completely packed—I couldn’t get in. Stupid me.
The night is getting closed by everyone’s favourites, Satyricon. Thousands of eyes are there, targeted on the spot, and I feel pain of being tad below 180. This is a challenge in Scandinavia,  - you better be tall. Violence aimed at obtaining space with a view may begin any moment.
Now, Diabolical, then Repined Bastard Nation are opening. Superhits. Satyricon are just flawless - as absolutely always.

Satyricon have a lot of repetitive moments, and this works live just perfectly. Black Crow on a Tombstone, then Deep Calleth Upon Deep. The bass on the last one sounds just phenomenal.  
What a set! 16 songs, including the local most important bard Sivert Høyem guesting on Phoenix.

How to make it special when you have played here so many times? Satyricon know. Another stage, another lights, small things being said from the stage, and a perfect performance. An argument to go see them once again, whenever soon they will play here in Oslo.

April 20: (This was a long day)
 
I start with the Vaterland club, and Vingulmork is the first band.

Vingulmork is either thrash metal with heavy black metal influence, or black metal with a massive thresh blend. I cannot figure it out, - so you have to check them and conclude. With one album out and another being released soon, they have been around and very active live lately.
It is a good live act. Jostein Køhn (in an office outfit, but with additional spikes on both hands) is a fantastic vocalist - gorgeous black metal vocals. Martin Storm-Olsen delivers juicy bass with octaver, and Kandola brothers (Simen and Martin) are tight on drums and guitar.

Then another hot locals, Messier16. Fretless bass, Quad Cortex and Fender Tone Master look promising. How to describe them? Metal: check. Extreme: check. Progressive: check. Elements of black and death metal: check.

Messier 16 is a very clear sound, a lot of notes and fast tempos. With scream vocals dominating the set, guitar player Jonas Ulrik Eide was delivering additional clean vocals, which is a great blend with the screaming vocals. More of it, please - it works really well. It is hard to describe, so you need to check it, if you are into complicated extreme music.

Lamentari open Rockefeller tonight. Prior to their start, classical music playing makes up the atmosphere, all the stage is in candles. It is dark and the musicians are in black capes, so when very loud organ sounds break the silence, I can see only the hands of the keyboardist. Effective entry!

The music, the first songs, are quite choppy and feel fragmented (not in a bad way), and it is the loudest keys I have ever heard live, - which creates a great effect. They could be compared to Lychgate when it comes to the dominance of the keys, but the music is more progressive and less sinister. It works well, but the left guitar is playing very dirty (dude, you really need to go down in gain, start muting your guitar in silent moments and, perhaps, have some noise gate) and sometimes ahead of drums. But the same dude plays very pleasant solos.

Interlude and the capes are removed.

Generally it is awesome, how insanely synth-heavy this live act is. A very good drummer. Very promising Danes with a cool image and Nosferatu on vocals. I cannot compare them to any other act straight. Somewhat there is a resemblance of Fleshgod Apocalypse, but they are less brutal. One full-length record out according to Metal-Archives. Very promising, and a good live band - check them out Lamentari.

The second band is Schammasch, whom I saw at the L'homme Sauvage festival in France. Their image is quite similar, but the stage is more empty.  It starts with a technical glitch - with the click track being fed to the audience.

This time it is a more audible bass sound and backtrack.

Very atmospheric, and several people onstage (three guitars) have all types of vocals.
There are fast moments, and in combination with the guitar sound and backing track, it becomes a very relaxing experience - almost fit for meditation.

Then it gets more raw. Crazy grandpas Naglfar take the stage.
It is very well played - just a perfect black metal band. Kristoffer Olivius is destroying the audience with both his vocals and glares that instantly kill!  Everything sounds great, long songs, 0 compromise. Grandfathers are ire and violent!

Tsjuder sound even more raw than the previous act. They have unreal Emil Wiksten on drums - when drum machines hear him, they first start to cry and then delete themselves. Perfect mix treatment by Rob Sherred, the trio is teleporting the crowd straight to hell (while looking like complete sweeties outside of the stage). The communication with the audience is really cold. If you have ever considered getting into black metal - this really is the day - you can hear all the nuances including Anal-Cunt-styled solos from Halvor Briseid Storrøsten. I like how the main vocalist Jan-Erik Romøren (bass + vocals) changes the mics - the trip is not static.

Half of the set is Tsjuder, and the second half is an almost traditional tribute to Bathory with their bassist Frederick Melander joining on stage.

Behemoth I have also seen countless times. Every time their show looks more and more expensive - so it is never the same. This time, it starts with a gigantic projection on the curtain, Brutal Assault 2024 they had a bigger stage with the shadows play on the curtain. It is never boring.

This year they are also back with the new album. And, as a change, they seemed to have asked 16-year-old boys to write lyrics and song titles, - they are not very grown-up. But they do know how to make hooks!

The gig is a show with real fires and massive light installation. Unfortunately, the lights blind us in the audience - most of the set I do not see anything because the lights blast on the second floor- right in our faces. So I go down to check them from the 1st floor.

Every interlude between songs is spectacular! And we have all the usual suspects in the set list.
As I notice that the stage has become too small for them, Adan Darski addresses the audience, mentioning that this is the smallest stage of the tour they have with Satyricon and Rotting Christ. “But it shows that black metal is bigger than ever!”. My favourites Demigod, Conquer All, Of Fire and Void, Christians To The Lions, Chant for Eschaton among the set list.

How to end this best? Confetti, of course.

I hope the next year will be good and varied, but at the same time I bet that we will see Kampfar and Vreid, since they, along with 1349 and a few other bands play every two years.

Closing remarks.

A festival is not just a bunch of bands playing in one place. It is an ecosystem, a place to be - that makes it comfortable for you just to be in.
At Inferno it feels like there are visitors that are not even watching any bands. They are just enjoying this time being around. Why not? There are plenty of things to do - checking merch, trying guitars (an ESP stand this year!), getting street food, sitting at the conference or some master class, getting a tattoo, sightseeing at an organized history tour, seeing art in an exhibition or hanging out with friends all over the world. Inferno has all of it.

This is exactly what makes this festival great. In addition, half of my music shelf is here alive. You need to come here. Get an early bird ticket now, and book a place to stay. Join the dark side!