Sklitakling – Self-Titled LP

Sklitakling’s album cover is an instant eye-grabber—a high-contrast image of sheer joy that transports you to a sweaty basement show even before you hit play. The bold yellow scribble of the band’s name only adds to the in-your-face, old-school hardcore vibe. With a name like Sklitakling, which literally means “decapitation,” you might expect a straight-up Scandinavian jawbreaker with no frills or fluff. However, these Norwegian punks have more tricks up their sleeves than one might assume from the cover alone.

Sklitakling formed in the early 2010s in Bergen, Norway, bringing together a fierce quartet of women: Catharina Teigland on bass, Tine Larsen on drums, Elisabeth Fonnes and Hedvig Thorkildsen on guitars. All four share vocal duties, sometimes harmonizing together, other times taking solo turns. Sklitakling’s sound was anchored by the addition of Endre Johnsen, the band’s male guitarist, who gives their music a deeper, richer tonal range with his baritone guitar. Producer Robert Jønnum also contributes to their studio recordings with occasional percussion and unconventional instruments, but stays out of their live performances.

After releasing their debut EP in 2014, Sklitakling experienced a quiet period due to life’s demands—raising children, working, and studying. However, their musical activity resumed in 2019 with regular rehearsals and new songs. Catharina and Elisabeth switched instruments, giving the band a distinct new sound. In early 2020, they were eager to play more gigs, but the COVID-19 pandemic halted their plans after just one show.

During the pandemic, the band focused on songwriting, rehearsing, and recording the double EP Vi har hørt det før, which was released in 2022. The four brilliant tracks, spread over two seven-inch vinyls, tackled feminist issues such as patriarchy, consent, abortion laws, church hypocrisy, homophobia and exclusion. With lyrics in Norwegian, the songs also addressed other pressing political issues such as the treatment of refugees and asylum seekers and the climate crisis. Two songs from the double EP, “Byfjord” and “Søster”, were also featured on the Norwegian compilations 2022: Punk i Norge and Feminisme skal synges, the latter celebrating the International Women’s Day. After a highly prolific 2022, Sklitakling continued to work on their new music, releasing their self-titled album on Back to Beat Records in December 2023.

From the frenetic opener “Arriba,” you’re thrust into a world turned upside down, with garage-y guitars and upbeat punk rhythms that won’t let go. As the album progresses, tracks like “Meyeren” and “Luftgevær” take you on a self-reflective trip, exploring the pain of nostalgia and the futility of chasing dreams through piercing guitars that cut deep. “Hunden” is another standout track, dealing with themes of personal guilt and hidden truths that need to be uncovered. While feminism and the state of the world remain central themes for a punk band like Sklitakling, their sound has evolved in a darker, more introspective direction compared to their earlier material. And for those of us who can’t really decipher all the layers and meanings in their Norwegian lyrics through Google Translate, the music itself is a rich experience that we should all embrace with an open mind.

Musically, Sklitakling skillfully balance the feminist punk fury with a melancholic, reflective vibe reminiscent of The Wipers. Their diverse influences include Swedish acts like Regulations and Masshysteri, Danish bands like No Hope For The Kids, and all-female garage-rock legends like Thee Headcoatees and The Delmonas. Yet despite this useless name-dropping to show their wide range of influences, Sklitakling have created a sound all their own, and their self-titled LP is not just a brilliant Norwegian hardcore punk banger hinting at decapitating patriarchy and societal norms, but a deeply introspective, touching, and expertly produced record that should make many people’s year-end lists.