Kim Carlsson is truly one of the very best artists and composers to emerge from the black metal scene, and even that statement fails to properly convey his genius. Carlsson founded the pioneering Hypothermia 25 years ago, thus helping set the gold standard. This legend has become known for a variety of other projects as well—Of course, he helmed the groundbreaking Lifelover.
Carlsson remains a tireless innovator, meaning that his work transcends genre, often veering into uncharted territories. However, he is and will always be black metal in essence; for, as he has stated, black metal is a lifestyle. Much has transpired since Hypothermia’s last EP, Kaffe & blod II (2017), yet the wait for its follow-up has seemed impossible. In the end, as fully expected, the priceless experience of Myrsubiaergh, recorded at Forsa Kvarn in late 2025, was more than worth it.
Carlsson plays guitar on this instrumental title and is accompanied by the ideal lineup: Phil A. Cirone returns on bass, Fredric Gråby has joined to lend his expertise on guitar, and session drummer Sven Lindsten also contributes his prowess. Cirone and Gråby, a pair of black metal’s finest, though most underrated, talents, have briefly played together in the past, and it’s a glorious feeling to hear them reunited by such a quality individual. Myrsubiaergh is greatly enriched by two additional presences: Guest Ask delivers his artistry on violin, and Joel Reyes, Carlsson’s friend from Mexico, charms on cello.
Their delicate yet powerful touches amplify the atmosphere of refinement and grace; sorry, but Hypothermia’s superior finesse is an ingredient sorely lacking in their peers. The team’s chemistry couldn’t be more complete—Hypothermia offer a masterclass in oneness. Everyone and everything meld and flow seamlessly. The production contributes to the pleasing cohesion, as the mix and sound are perfect. It moreover enhances the sense of physical and emotional intimacy; the vibrations of the strings, for example, are caught in all of their fragility in the right places.
As already implied, Carlsson’s abilities as a composer remain top-notch. Maximally united as they stand, the three epic compositions that constitute Myrsubiaergh each have their own character, with each momentous note driven forward by will and purpose. Myrsubiaergh proves profoundly meaningful, moving, and rewarding. Carlsson is a highly spiritual person, and that comes through all too clearly in the audial gift at hand, which induces trance-like states of bliss and unreal serenity—It’s the ideal masterpiece to begin or close your day with. This immersive meditative offering demands your full attention, as it is painfully bewitching, so do not think that you can use it as background music.
Stylistically, the EP may be compared to classical music, but there is no sense in trying to pigeonhole the product of ingenuity. Within the timeless beauty of Myrsubiaergh, Carlsson conjures abysmal darkness that hits with more force than extreme metal; the third track especially contains moments that drag listeners into the void. Meanwhile, the music, infused with unbelievably cool rock vibes, also opens psychedelic portals to vibrant lucid dreams. Fortunately, Myrsubiaergh lacks everything that one might fear when jumping into a new release—staleness, clichés, cheesiness, forced performances, suffocating boredom. In a climate of artificial sonic pollutants where so many so-called creative decisions are made with commercial interests and the disgustingly obsequious desire pander to audiences in mind, Carlsson maintains his uncompromising and ever-evolving vision—All within Myrsubiaergh is so organic and authentic that mentioning the fact seems a tad silly.
Myrsubiaergh awakens an endless array of nuanced emotions and memories. In accordance with expectations, Myrsubiaergh feels both otherworldly and rooted in nature, or rather, it illuminates the magic of nature while transcending this mortal realm, bringing receptive souls to higher planes. As is also the case with many of Carlsson’s previous wonders, the transportive Myrsubiaergh can be likened to time and space travel. In your mental voyages precipitated by the EP, you will certainly visit its namesake: “Myrsubiaergh” is old Swedish for Mösseberg. Carlsson explains that the spelling dates back to 1300–It is based on the name of a local mountain when it used to hold a fortress. The appellation is made up of the words for “bog/marsh,” “lake,” and “mountain.”
There are simply no words that do justice to the excellence of Myrsubiaergh, and, luckily, Carlsson will keep presenting manifestations of his brilliance—He has been celebrating Lifelover’s legacy with the sublime Kall, which formed as a vessel of resilience after the tragic death of his friend and fellow Lifelover co-founder, Jonas “B” Bergqvist; Hypothermia will similarly be playing more live ceremonies; Horns Emerging have shared their progress on their first full-length record, and there are further surprises to come. In the meantime, make sure to enjoy Hypothermia’s spectacular Gamla sår—a five-song compilation featuring two previously unreleased gems that was unveiled earlier this year.
Follow Hypothermia on Facebook and Instagram for updates, and send your words of deep appreciation for their art.
Buy your Hypothermia merchandise here; note that the May 1 online release date coincides with Walpurgis. As of now, physical copies can be procured at Carlsson’s concert rituals, and all physical formats will later be made available to fans wishing to place their orders at home.
Photo courtesy of Unjoy — Art & Ritualia
