I need help identifying this blackletter font (Gåte band)

[Member Bjø…]

Hi!

I have searched every possible term I can think of (and used WhatTheFont, Whatfontis and Identifont plus roamed a plethora of websites like DaFont, Fontsquirrel, Creative Market, MyFonts, Envato, DesignCuts, CreativeFabrica etcetera) to no avail. I'm not entirely sure that the capital B (in image 2) is correctly represented or if it's somewhat manipulated.

Any help would be greatly appreciated, thanks.

Sincerely,

Bjørn Edvard Torbo

[Ralf Herrmann]

Where was it used originally?

[Member Bjø…]

Hi Ralf, and thanks for replying.

I noticed it lately on the Norwegian band Gåte's latest albums and concert posters. They just won the Norwegian finale to represent Norway in Eurovision this year. I feel like I've seen it somewhere (else) before, but I can't for the life of me remember where or when. Needless to say, it drives me a little nuts.
They (their graphic designer(s)) have obviously «done things» with the letters G and e in the logo, but I think it has a fascinatingly expressive impact and punch for such a «toned down» blackletter. I really dig the high ascenders and the descender on the letter g. The e, o and a is also very harmoniously crafted in my opinion.

On a side note, I think that it (kind of) shares a few characteristics with your wunderful revival of Wunder, but it's obviously a lot less polished and much more «raw».

[Ralf Herrmann]

I wouldn’t be surprised if this is a font specifically created for the band. 

A well-known design combining lombardic caps with blackletter lowercase is William Morris’ work for Kelmscott press. Doesn’t have the characteristic swashes of the Gåte font though. 

[Member Bjø…]

I share the same suspicion (that it's a custom made typeface). The t in the logo is also different than the t in «(S)varteboka» (I cropped out the S because it was easier than to edit out the custom embellishments). What speaks against that however, is that the typeface looks so incredibly well (like, professional level) done. I imagine that it would require that they had access to a very proficient typographer with extreme knowledge about blackletter typography (like yourself, for instance) to achieve such a harmonious and unified structure. It's obviously possible, but somewhat unlikely, in my opinion. And, for all that work, it would definitely make sense to make a commercially available variant (probably without the signature uppercase embellishments) to compensate for the time and effort put into its conception. I was hoping that someone on this forum would know about it, if that were the case. I'm leaving the thread as «unsolved» for now, just in case. If nothing new appears within a fortnight, I'll go back and mark your reply featuring the Identifont link to the work of William Morris for Kelmscott press as «solution».