A Metalhead in Norway: My Journey to the Inferno Festival

A Metalhead in Norway: My Journey to the Inferno Festival – Part 2

I’m a metal musician from Algeria, and in this second part of my story, I’ll tell you about the unforgettable Sylvaine concert, the first two days of the legendary Inferno Festival, and of course—something truly unique—the Black Metal Bus.

Day 2 – Sylvaine and the First Day of Inferno Festival

It’s still Thursday, April 17th, 2025. The final panel of the day at the Inferno Conference is underway: “Bridging the Gap for the Next Generation.” After our own panel ended, I left my gear behind and decided to sit in on this one.

One of the standout moments of the discussion was Generation Metal, featuring the band TROLD at Gimle. Four professionals came together to talk about a pressing issue in our scene: the struggle to attract younger audiences to metal festivals. The consensus? Many young people are absent—not necessarily because of lack of interest, but due to aging lineups and a failure to connect with new generations' listening habits. Initiatives like Generation Metal are trying to change that, aiming to reignite young interest in the live metal experience. As someone who comes from a country where metal is still fighting for recognition, I found it powerful to see these efforts in Norway.

But the highlight of the evening was yet to come. Two hours later, we gathered near the hotel and headed off to a concert I’d been looking forward to for months: Sylvaine, live at the Emanuel Vigeland Museum.

For those who don’t know her, Sylvaine (Kathrine Shepard) is a Norwegian multi-instrumentalist signed to Season of Mist, with four albums and a split EP. She’s toured across Europe, North America, and South America, but this performance was on another level.

The venue was just as remarkable as the artist. The Emanuel Vigeland Museum was originally constructed in 1926 by the artist himself as a gallery to house his works. Later, it was transformed into a mausoleum—its windows sealed, and Emanuel’s ashes placed in an urn above the entrance. The walls and ceiling are covered in eerie, symbolic frescoes, making it one of the most unique acoustic spaces in the world. It’s called Tomba Emmanuelle—and stepping into it feels like entering another dimension.

In this otherworldly setting, Sylvaine delivered a solo performance with just her voice and guitar. No microphones. No amplification. And she didn’t need any—the natural reverb of the space elevated her sound into something transcendent. Her mix of ambient post-metal and traditional Norwegian folk created a meditative atmosphere, filled with raw emotion and spiritual intensity.

The performance lasted 45 minutes, but felt like it suspended time. The final moments, with Sylvaine unleashing chilling, high-pitched screams, reminded us all of her black metal roots. It was a haunting and beautiful end to an unforgettable evening. A spiritual experience more than a show—etched into my memory forever.

After the haunting Sylvaine concert, some people headed back to the hotel—but not me. I made my way straight to the beating heart of the Inferno Metal Festival: the twin venues of Rockefeller Music Hall and John Dee Live Club, both located at 16 Torggata in downtown Oslo. These two legendary stages are part of the same complex, with Rockefeller towering above and John Dee nestled below.

I descended into John Dee, the more intimate of the two, with a capacity of around 400 people. This basement venue is known for showcasing emerging talent and raw, underground energy—and that’s exactly what I found there.

Spectral Wound, a black metal band all the way from Canada, were tearing up the stage. I had never seen them live before, but their performance was a revelation. They fused the raw aggression of early Bathory with the epic melodies of Windir—an unexpected and powerful blend. Traveling over 5,000 kilometers to play this set, they clearly came with purpose, and the crowd responded with roaring approval. They gave everything they had, and it paid off.

By 9:15 PM, the main event of the night was kicking off. And what a show it was.

Batushka’s set at Inferno 2025 was, for me, the pinnacle of the festival (well, I didn’t stay for Day 4 with Behemoth and Tsjuder—but still!). Everything about the performance was flawless: the sound was crisp and immersive, the stage decor lush and theatrical, and the lighting played a crucial role in setting the spiritual, ritualistic tone.

Batushka delivered a liturgy of black metal excellence, with a setlist tailored perfectly to the Inferno crowd. Their blend of orthodox aesthetics and bone-chilling atmosphere hypnotized everyone in the room. The audience was completely locked in—and so was I. After the show, I couldn’t resist picking up one of their t-shirts at the merch stand. Yes, the prices were a little steep, but hey—it’s Norway, and when you’re a fan, who’s counting?

At around 10:30 PM, I popped back into John Dee for a quick look at In The Woods.... Their vocalist was clearly talented, delivering a strong performance that drew a respectable crowd. I stayed for one song, but my focus was elsewhere. Something big was coming.

I headed back upstairs and got into position for one of the most anticipated sets of the night: Abbath.

There he was—the man, the myth, the penguin-walking legend—right in front of me. It was my first time seeing Abbath live, and I’ll admit, he looked a bit older and thinner than I’d imagined (but hey, haven’t we all aged?). Still, he hadn’t lost an ounce of that unique charisma. His signature mix of theatrical black metal presence and tongue-in-cheek humor was on full display. When the crowd started chanting his name in that infamous “Aaaaabbaaath!” style, the energy reached a fever pitch.

The stage was bathed in icy blue light, perfectly echoing the cold, majestic feel of “At the Heart of Winter”, which—rumor had it—was the focus of the setlist. Flanked by two massive, stylized war axes, Abbath commanded the stage like a general of Blashyrkh itself.

And the performance? Monumental. From Solarfall to the grand finale, Blashyrkh (Mighty Ravendark), it was everything I’d hoped for. That last song in particular brought back powerful memories. It was through Blashyrkh—and its clip on old-school MTV—that I first discovered Immortal. Seeing it live now, in Oslo, at Inferno, felt like coming full circle.

That was it for Day 1. I made my way back to the hotel, feeling like a well-behaved little metalhead, ready to rest and recharge for what Day 2 of Inferno had in store.

Day 3: Black Metal Bus & Inferno Festival – Day Two
Friday, April 18th, 2025

I woke up around 9:00 AM with a dilemma gnawing at my mind—should I attend the panels at the Inferno Music Conference, or go on the legendary Black Metal Bus tour? Before coming to Norway, visiting these iconic black metal sites had always been a dream of mine. And now, I had the rare opportunity to take a guided tour with Anders Odden himself. That sealed the deal. As tempting as the panels were—including “The Future of the Industry: USA and Canada Touring and Tariffs,” which tackled the growing difficulties international bands face when touring North America (visas, customs, economic instability), or “Let’s Get Physical,” focusing on mental and physical health while on tour through nutrition, exercise, and meditation, or even “Old Fart Journalism,” a discussion on the evolution of metal music journalism—I chose the bus.

I hopped on Ticketmaster, booked my ticket, and headed downstairs for the famous Inferno breakfast. After a quick bite, I took a little walk around town before our meetup at 11:30 AM, just outside the hotel. The bus would leave promptly at 12:00.

I was among the first to board. As the seats filled, a few Chinese fans were unfortunately left behind—seems a couple of extra tickets had been sold. Then, we were off.

At the front of the bus stood Anders Odden—founding member of Cadaver, and known for his work with Celtic Frost and Order. He grabbed the mic and greeted us with a smile and the words:
"Welcome to Hell."

Anders began sharing stories from his early days, starting with his first band Slaught, which he formed after witnessing a Mayhem rehearsal at just 14 years old. In 1988, he formed Cadaver, releasing the first Norwegian death metal album in 1990 on Earache Records.

He painted a vivid picture of the 1980s in Norway—a time when there was only one TV channel and one radio station, as governments still had tight control over media. Entertainment options were limited, and like many of us who lived through those days, the youth had to get creative. That led to the birth of a musical movement that changed everything.

Outside the bus windows, lush greenery stretched in every direction. Nature dominated the landscape, and there weren’t many people around. Our first stop was Langhus Station.

Langhus Station, located about 20 km from Oslo, holds a sacred place in black metal history. It's where the iconic photo of Dead and Euronymous from Mayhem was taken in 1987. Anders explained why it was just the two of them in the shot—there were no selfies back then, and the band members were often alone. This early photo, captured at the dawn of Mayhem’s career, reflects the raw and youthful energy of the Norwegian black metal movement. The station itself is quiet and peaceful, a stark contrast to the chaos and darkness the band would come to embody.

I took the chance to recreate the photo—sitting like Necrobutcher, pretending to be dead on the bench. Not something you get to do every day, right?

Back on the road, we headed to our next destination: Ski Cemetery (Ski kirkegård) in the town of Ski, south of Oslo. This is where Euronymous is buried, after being tragically murdered by Varg Vikernes of Burzum.

It was a deeply emotional moment. Anders even shed a few tears as he shared personal stories and intimate details about Euronymous. He asked us not to film, out of respect. I took a few respectful photos before getting back on the bus.

Once everyone was back on board, Anders took the mic again.
“In a few minutes,” he said,
“We’re going to Hell.”

During the short drive, Anders took the opportunity to share more stories about Euronymous. He told us that Euronymous was a man utterly devoted to his art — someone who constantly reminded those around him that true artistry required time, sacrifice, and unwavering dedication.

Back in the day, Anders said, Euronymous survived on just 150 Norwegian kroner a month — the equivalent of about €15. Yes, fifteen euros per month. He lived off instant noodles, morning and night. He was rail-thin, pouring every last cent into his music.

Anders added, “No one would do that today.”
And he’s not wrong.

Welcome to Hell

We had arrived… in Hell.
More precisely: Helvete — the Norwegian word for “Hell” — a name that holds near-mythical weight in the history of black metal.

Helvete wasn’t just a record store. Opened by Euronymous in 1991 in the basement of a house at Schweigaards gate 56 in Oslo, it became ground zero for the second wave of black metal.

The building still stands. Anders pointed out the original location — now transformed into a fast food joint. But just next door is

Neseblod Records, a store that has become a pilgrimage site for black metal fans from all over the world.

Neseblod offers a vast collection of vinyl, cassettes, CDs, vintage band shirts, and obscure collectibles. But what truly sets it apart is the basement — once painted black and covered in occult symbols. This was the meeting place for the infamous Black Circle, an underground group of musicians and die-hard fans united by an extreme and radical vision of music and culture.

Anders warned us that this sacred space might not last forever. In 2024, a fire broke out in the basement of Neseblod Records, causing significant damage and destroying irreplaceable artifacts from the genre’s early days. According to reports, it started due to a faulty electrical socket and primarily affected the section housing Norwegian CDs.

Despite the destruction, much of the shop survived. Restoration is underway, with efforts focused on preserving what remains of this legendary place.
But still… one has to wonder:
Was it really an accident? Or was it something more sinister?

After picking up a few records and trinkets here and there, it was time for a group photo — in the legendary basement of Helvete, no less. It felt surreal, standing where so much black metal history was carved into time, surrounded by walls that had seen it all.

Then we boarded the bus again, heading to our next destination: Holmenkollen Chapel.

After a short ride, the bus pulled over and we began the climb — a long staircase that wound its way through the trees, leading up toward the chapel.

Holmenkollen Chapel (Holmenkollen kapell) is a striking religious building nestled in the Holmenkollen district of Oslo. It's known not just for its picturesque location, but also for its infamous connection to the darker chapters of Norwegian music history.

In 1992, the original chapel was burned to the ground in an act of arson, one of several church burnings that rocked Norway in the early '90s. The crime was linked to key figures in the black metal scene, most notably Varg Vikernes and Bård “Faust” Eithun — both of whom would become central figures in a storm of controversy, violence, and mythology surrounding the genre.

The structure standing today is a fully restored version of the original: tall and solemn, with black timber walls, a large green door framed in crimson-red trim. Unfortunately, we weren’t allowed to go inside — but from the outside, it looked immaculate.

What made the site even more magical was its setting. The chapel is surrounded by dense forest, perched high above the city. From the hilltop, you get a breathtaking view of Holmenkollen, the valley sprawling beneath your feet like a painted canvas.

Before we boarded the bus one last time, Anders shared a few final thoughts — this time on the ethics of early Norwegian black metal musicians. Their commitment, their nihilism, their rejection of norms — a scene born of conviction, chaos, and rebellion.

And of course, we couldn’t leave without one final photo.

And just like that, the black metal pilgrimage was over. A dark, fascinating tour through the shadows of Norwegian music history.

By the time I returned to the hotel, it was 5:00 PM, and the second day of the Inferno Festival was already underway! I took a brief one-hour break, and then it was time to head back. Unfortunately, I missed Gaerea, the Portuguese band, who apparently put on a masterful performance.

But as luck would have it, on my way from the hotel to the Rockefeller (the festival venue), I bumped into Guilherme Henriques, the guitarist from Gaerea! It turns out we go way back — back in 2016, we went to his hometown in Santa Maria de Feira, Portugal to shoot the Lelahell’s "Paramnesia" music video. Small world, right?

Now I was at the Rockefeller, and the first band I caught was Blood Incantation. Earlier, I had spoken to my friend Shiva from Pananoid Fantasy, who had strongly recommended them. And let me tell you, I was not disappointed. Their cosmic death metal was like nothing else I’d heard — original and completely mind-blowing. For me, they were the most musically inventive band of the entire festival.

They blended old-school death metal with blast beats, psychedelic breaks, and a progressive touch, all wrapped up with a groovy bass line. And we can't forget about Paul Riedl’s sublime vocals — the bald, mustached guy with long hair. He really nailed it.

Meanwhile, there was a lot happening at the John Dee stage, but I took the opportunity to wander over to the merch corner, where I found tattoo artists in action, etching designs on festival-goers. Not too far away, there was also a stand from ESP, straight from the United States. I took a moment to chat with the guy at the stand and gave him my thoughts on the MENA markets (Middle East and North Africa), suggesting they should pay more attention to those regions' potential.

The next band to hit the Rockefeller stage was Kylesa, the female-fronted group known for mixing stoner, post, and sludge metal. Honestly, it wasn’t really my thing. But, I understand why the festival organizers decided to feature them — they’ve definitely earned their place here. But I’ll refrain from commenting further.

Instead of sticking around for the set, I decided to head to the other side of the merch area, where there were some intriguing stands. One of them was KAAMOS (not to be confused with Kaamos Illustration, who redesigned Litham’s album cover for the 2003 reissue). They specialize in products designed for metalheads, like corpse paint, perfumes, and unique decor accessories.

Elsewhere, I checked out the stand for the Midgardsblot Festival, a folk metal festival held in August. I met a really cool guy there who told me all about Norway, recommending things to see and do, and even suggested I try the famous brown cheese (a Norwegian delicacy) along with some sweet treats for the kids. He was kind enough to give me a special soap from the festival as a souvenir.

It’s 8:30 PM, and it's the turn of the German band Non Est Deus on the John Dee stage. The band plays a traditional form of black metal, sometimes melodic, and I must say that at times they really reminded me of MGLA — not just in terms of their look, but also with certain riffs and vocal sections. However, we definitely have to applaud their energy and the dedication of their vocalist, who really gives it his all on stage!

Now, it’s time for the Greek veterans Septicflesh to take the stage with their atmospheric symphonic death metal, which hasn’t aged a bit. The stage is beautifully decorated, with a large backdrop featuring the artwork from the vinyl version of Modern Primitive, flanked by two side panels with matching themes. This is the first time I’ve seen them live, and I was absolutely mesmerized. There wasn’t a single wrong note, and their stage presence was flawless. The technique was on point, and special kudos to Sir "Krimh" Lechner on drums. I was hoping they’d play a couple of tracks from The Fallen Temple to stir up some old memories, but alas, that wasn’t the case. They kicked off their set with "The Collector", the opening track from their 2022 album Modern Primitive. For me, they were the best band of the night — no complaints here!

At 10:30 PM, I noticed something interesting happening across the way on the John Dee stage. It was Aeternus, a band from Bergen, Norway, who’ve been around since 1993 and have released 9 albums. When I first saw them, I thought, “What’s this rock band doing here?” But after just a few notes, I was completely captivated by their heavy, energetic black death metal. Their performance was intense and gave off this feeling that everything was perfectly in place. Definitely a band worth checking out if you haven’t already!

To close out the second day of Inferno Festival, we were treated to a blistering set from the Norwegian band 1349 at the Rockefeller. They kicked things off with a fire breather, setting the stage for what was to come. The atmosphere was filthy, satanic, and downright unsettling — true black metal at its finest. However, personally, I think they would’ve fit better on the John Dee stage, and a second guitarist might’ve added a bit more depth. But hey, that’s just my opinion. In any case, it was an amazing conclusion to Day Two of the festival, and everyone made their way home afterward!