Metal is an evolving craft that smelts the raw elements it mines and renders them into primordial and evocative artifacts. Case in point, Jörgen Ström formed the Black Metal project JORD in 2020. Heavily influenced by Blackgaze and Post Metal, the Swedish multi-instrumentalist released two albums via Northern Silence Productions—“Sol” (2021) and “Måne” (2022). In late 2022, JORD took another step in its evolution and became a trio, adding the significant talents of Sebastian Svedlund (guitar) and Stefan Jansson (drums) to the mix. Now with Hammerheart Records, JORD released “Tundra,” their third full-length offering, on November 3, 2023.

While JORD’s first two albums had a personal focus—the first exploring “Jörgen's relation to Mother Earth” and his inner growth; the second examining his “journey to fight the battle and live the life he’s been preparing for,” selling his home and his possessions and just leaving—this third installment takes a more modern and societal perspective. Here JORD takes tales from Swedish folklore and mixes them “with modern day power struggles . . . giving a hint about today’s problems with authorities, mind control and delusions. But most importantly on how the elite will break and fall when they have pushed us too far.”

“Tundra” comprises seven tracks and has a runtime of 40 minutes. Aesthetically, it balances the atmospheric with the brutal, combining and progressing the approaches from the first two albums, the first being raw and heavy, the second being nuanced and layered. Production-wise, “Tundra” is a clear improvement. Though the first two albums are fairly well-engineered, “Tundra” is markedly better. And, finally, musically . . . well, there simply is no replacement for the diversity you get with different individual band members. It’s like horsepower in engines. As good as a one-man project JORD was in 2021 and 2022, the 2023 trio has more cylinders to fire on. Add to that the guest vocal performances Ken Romlin (NIGHT CROWNED) and Erik Molarin (DARK, BESEECH) and, yeah, there’s just more to work with.

Best tracks are difficult to select as they’re all very solid. My personal favorites are “Själens Död” (trans: Death of the Soul) for its curious drum intro and the multiple, varied mood swings—like that one relationship you just couldn’t shake; “Vilddjurets Hjärta” (trans: the wild animal’s heart) for its accessibility and the gorgeous guitar solo; “Snöffödd” (trans: snow born) for its straightforward vicissitude and deep-rooted Doom inflections; and, of course, “Tundra.” Similar to the final tracks on “Sol” and “Måne,” Jörgen opts to conclude his third album with a track radically different from the ones preceding it. Where tracks one through six described the tumbling and treacherous landscape of the hinterland, “Tundra” presents a more ambient, meditative terrain. A nice icy conclusion to the album.

All together this is an impressive follow up to “Måne,” maintaining a steady trajectory upward. I should also note that the cover art was painted by Jörgen Ström who is proving to be proficient on artistic fronts beyond carving Black Metal hellscapes from northern ice blocks! Highly recommended.