Østfrost has not so much been a buried Norwegian treasure, as a hidden one. That is up until now. As this young band grows more and more in confidence, the gems that are their songs are finally beginning to shine during live performances.

With an instrumental makeup and sound that distinguishes them from their peers this Norwegian four-piece has crafted an exquisite portfolio of unique songs, which hopefully they can use as a solid foundation for their debut album.

Having finally found their on-stage feet, Østfrost gave a strong and confident performance at Pokalen, one the many off-by:Larm events recently held in Oslo. Front-woman Ane Bjerkan's on stage persona has sufficiently evolved to allow for a free, easy interaction with her audience, which is just as well given co-pilot Håkon Brunborg Kjenstad's propensity for disappearing into the musical reverie both he and Østfrost create during their live sets.

Where vocalist Ane stays focussed, alert and engaged, Kjenstad, who plays guitar and viola, both with equal excellence, drifts off, eyes closed, possibly on the same surreal journey on which their music takes the audience. Bassist, Ken Erik Klaseie and drummer, Ola Even Hogstad Hagen, make up the remaining members of the band, who include an additional guitarist in their live lineup.

Unusually, Bjerkan plays an Indian Harmonium, an instrument which along with the viola, gives the band their unique, subliminally hypnotic sound. Add in her lilting, emotive voice, and you've got a recipe for exceptionally striking songs.

Østfrost's musical storyline is like a tale of two halves. The first is the stuff of fairytales, all soft sublime enchanting balladry, the second, its antithesis, is more thriller-esque with its punchy, meaty, insistent indie vibe.

Songs like 'When they Leave' and 'I Don't Want To Stop' fall into the former category, while hit single, 'Wooden Floors' sits firmly in the latter.

Bjerkan's vocal delivery on the night was solid, controlled and sufficiently evocative to uplift and engage without being overly effusive. She has mastered the art of generating a delivery that can switch without wavering, from beautifully delicate to powerfully insistent. That Ane can play the harmonium flawlessly, in tandem with producing such a controlled and inviting vocal is to be applauded.

Instrumentally, Østfrost are a cleverly skilled outfit, whose musicianship has improved considerably in the short while since I last saw them live in Trondheim. While Kjenstad's viola playing is nothing short of mesmerising, the rhythm section of Klaseie and Hogstad Hagen is the glue that binds. Tightly synchronised, they act as the musical anchor that grounds the airier, more mellifluous pairing of viola and harmonium. While their performance at Pokalen wasn't perfect, there were a few timing issues, it wasn't far off.

Not the loudest or extroverted of bands, Østfrost perform with buckets of energy and enthusiasm which in turn transfers to the audience. Half way through the Pokalen set the crowd were replicating the dynamic gusto with which the band were playing. By the end of their all too short set, the hyped up crowd shouted for an encore, alas, to no avail. As with all things by:Larm, Pokalen operated like clockwork and no act was allowed to play over time.

Østfrost must surely have been chuffed with their performance on the night - the crowd were certainly delighted judging by their loud applause. A band with a lot of talent, Østfrost is at the beginning of what must surely be an exciting, colourful journey, one which will hopefully include some commercial success, along the way.