After paying attention to the first part of Nortt’s discography, that is three self-released demos, all of them produced in audiocassette version and one EP only produced on record 7”, here we go to the second part of the journey regarding this introverted musician. It’s much more structured and definitely more interesting. The first period of research and training had a breakthrough thanks to a recording deal and Nortt’s artistic development. All this gave birth to a new stage, the one of maturity and awareness; “Gudsforladt” is a proof of what we’re talking about, it’s a work that speaks for itself.

“Gudsforladt” was released in vinyl format in 2003 and it includes 10 tracks, but in 2004 it was republished in CD format with one more song called “Evig Hvile” which was already existing in the 1998 demo “Døden” as final track; as written in the booklet, the content was recorded in a rainy Summer of 2003, so it wasn’t just a case that the first track called “Graven” is a dark ambient played only with keyboards and that starts with a faithful reproduction of a pouring rain which leads to such a greyness that overruns the all record. Great and tasteful intro… and then here is the funeral doom.
Nortt repurposed in “Gudsforladt” all four songs in a new version already included in the EP of the previous year and listening to the different revisions you could feel that the artist made a considerable progress in a short time either for the songwriting or for the arrangements succeeding in effectively creating various depressing and dilapidated atmosphere that fulfill the entire work. The melody is not missing in “Gudsforladt” which is dominated by well-aimed piano and keyboards parts and composed of few and sad tones.
Nortt knew how to wisely allocate the elements all along the way even though the interpretation at large is provided by a really heavy and dark sound, a very slow rhythm section, a deadly and spooky singing and melancholy, unhappy tones; all this is proved by the grief and the despair in “Hinsides”, the mournful outcome in “Hedengangen” and “Døden”, the wicked aura in “Død og Borte”, the haunting mysticism in “De Dødes Kor”, the bleakness in “Dystert Sins” up to the captivating and simple piano notes at the end in “Evig Hvile” that close this masterpiece leaving an overwhelming emptiness… the whole of it is realized by a high quality production that makes this album exceptional of its kind…
The music can be an amazing tool of emotional experiences if well done, “Gudsforladt” is the proof of it and we could not but be deeply impressed by it from the very first listening.

We don’t know Nortt impressions regarding his work, we don’t even know if he remarked it and how he eventually did it, because he had to deal with media and gave interviews very rare times and he’s definitely not social, but the fact is that he’s been able to create an absolute masterpiece, a hymn to despair and grief, he awoke the haunted souls of dead… but, then again, it’s difficult that a genre described as the underground of the underground that is the funeral doom, has its own space on magazines and different advertising channels precisely because it’s conceived in cemeteries and it’s meant to remain there.