#amon-amarth — Public Fediverse posts

Vengeful trickster fairies, a realm of impenetrable cold and boundless frost, a dragon gnawing away at the roots of the World Tree; Norse iconography is intense, and metal bands have known this at least since Led Zeppelin. Sweden’s Fejd, a folk metal group formed in 2001 from the folk duo Rimmerfors and the prog-thrash band Pathos,1 have been weaving Norse history and mythology into their acoustics-forward heavy metal for decades. They were last heard with 2016’s Trolldom, followed by a decade of inactivity as far as new music is concerned. But now, drummer Esko Sallow, keyboardist Lennart Specht, bassist Thomas Antonsson, vocalist/moraharpa player Niklas Rimmerfors, and multi-instrumentalist Patrik Rimmerfors2 have taken the Fejd banner to Nifelheim, the Norse realm of ice and an album steeped in mist-wrapped mystery. Fejd sing in Swedish and, being a Swiss-cheese-brained American, I can’t tell you if they capture their “Nordic melancholy” in lyricism. But can they musically?

“Folk metal” encompasses a lot of different sounds; the way Fejd do it, Nifelheim is folk, folk metal. Fejd’s approach immediately reminded me of The Hu’s early material, where amidst the great score of acoustic instrumentation, keyboards, and drums, not one distorted guitar appears. This is no issue. The lively, drone-noted strumming on “Edsvuren” and “Sköldborg”‘s Amon Amarthesque fighting riffs prove Fejd can bring the goods without them. Nifelheim’s acoustic soundscape—beautifully captured in a warm and dynamic mastering job—smells of sea salt on “Älvagrimmar” with its wind-swept majesty and “Strilja”‘s medieval jauntiness and Sgàile-like grandeur. On first listen, I was quickly and easily engrossed. Nifelheim doesn’t actually sound Nordic—like most Viking-y folk music these days, Fejd mostly play a hodgepodge of Asian and Eastern European instruments—but it nonetheless sounds like a dip into the primordial world.

Fejd use a lot of instruments on Nifelheim, and brother, you better believe they’re using them all in the same song. “Nidhögg” navigates between mouth harp,3 a plethora of strings, synthesizers, and group vocals while the title track opens to a cavalcade of drums, horns, and synchronized string riffs to bombastic effect. Nifelheim is just about always like this. But what’s crazy is that Nifelheim never sounds overly crowded. This owes partly to its aforementioned mix but also Fejd’s delicate songcraft, which sees pieces sliding in and out of the music in seamless, natural transitions. But what’s similarly baffling is that, though Fejd weave such big compositions together, Nifelheim still sounds kinda thin. This is in part due to a lack of low end, which is mostly handled by Salow kicking the dookie out of his drums, because Antonsson’s bass basically stands in the back of the mix sipping a beer mead. Regardless, in tying Nifelheim’s anachronistic musical identity together into a cohesive package, it’s safe to say these Swedes left no “Ø” uncrossed or “Ä” undotted.

But with how spirited Fejd’s musical identity is and how rich Nifelheim’s compositions can be, it’s a bit surprising how much steam the record loses by the end. Nifelheim keeps to a mid-pace throughout its runtime, and though Fejd can play briskly—Salow really lets loose on the kit when he wants to (“Edsvuren”)—the music nonetheless feels stuck in one speed. Similarly, I’d describe Rimmerfors’ vocals as workmanlike on Nifelheim, serving the music well but being too constrained to stand out or elevate it. Factored together, these two problems conspire to give Nifelheim a feeling of déjà vu. When closer “Svarta Tjärn” rolls out its big conclusion in hopes of a true Viking funeral, a track worthy of one in a vacuum, over-familiarity dims its flame to a serviceable campfire instead. Nifelheim is smooth sailing, but perhaps the trip would’ve been more memorable had Fejd challenged some choppier waters.

Nifelheim is a fun and expertly crafted album the whole way through, but a lack of exciting highs keeps me from giving a full-chested recommendation of it. Fans of folk metal will likely enjoy what Fejd offer on it, and genre diehards are likely to rate it more highly than I. I hear all the essence of a great album in Nifelheim, from Fejd’s expert chemistry to the record’s effortless fluidity. But I also hear the potential for something to really blow the roof off with Nifelheim gone unrealized. A few stronger hooks or up-tempo moments would’ve really gone a long way. But regardless, Nifelheim is a sound warship for Fejd to get back on the warpath with, and more than worthy of your consideration for listening. Skol!

Rating: Good
DR: 9 | Format Reviewed: 320 kbps MP3
Label: Black Lodge | Sound Pollution
Websites: fejd.se | facebook.com/Fejdofficial
Releases Worldwide: August 21st, 2026

London, England’s Fen has a storied history at AMG, with five reviews spread across three different writers. The illustrious Madam X reviewed them thrice with mixed results, followed by Doom_et_Al’s laudatory commentary on The Dead Light and, most recently, Cherd’s favorable-but-less-impressed impression of Monuments to Absence. You should read their words because they’re excellent writers,1 but the upshot of their analysis is that Fen often crafts gorgeous layers of music that sometimes lose focus or take too long to spool out. Imagine my delight, then, when I discovered Fen’s newest album, Elemental Part One: Mourning Earth only runs forty-seven minutes.2 While the overall album length suggests improved self-editing, Mourning Earth is the first part of a greater effort and carries the risk of either feeling incomplete or disguising bloat between multiple releases. In the end, does Fen free their songwriting from the mires that held back some previous albums?

Throughout Mourning Earth, Fen conjures familiar reference points while evoking less obvious connections as well. Opener “Glacier” reminds me of “Storm Son,” the opening track to Enslaved’s E, with its prog-leaning clean guitars playing over galloping blast beats and beautifully written choral arrangements. The last third of “Glacier” and follow-up “Techtonic” rumble and quake with calls to Blood Mountain-era Mastodon,3 while “Massif” and “Abyssal Plain” drift into gazey waters, where shimmering guitars and haunting vocal stacks tread alongside Alcest. The opening riff on “Barrow” reminds me of a cross between Helloween’s “Future World” and something off Avatar’s Feathers & Flesh, casting ties to genres I never previously linked to Fen. Meanwhile, closing track “Moor” begins with sparkling builds akin to Saor and Agalloch, but when the atmosphere gives way to melody,4 I suddenly hear mid-aughts Amon Amarth. Everything on Mourning Earth points to a band harnessing a vast reach of styles and influences and fusing them into a vision uniquely their own.

Given Mourning Earth’s eclectic backdrop, its cohesion and effectiveness remain refreshingly intact. Throughout, Fen’s jaw-droppingly gorgeous textures harken to primordial environs that imbue the album with nature’s innate beauty. Mourning Earth’s midsection broods within layers of reverb and melancholy, entrancing listeners with hypnotic refrains and crystalline guitar work. “Massif,” though, kicks up past the halfway point, recalling the groove and melody from its first half while dialing up the heft and drama. “Techtonic” and “Barrow” both charge out in rollicking fashion, hitting hard early on. “Barrow” even permutates melodies from “Tectonic”‘s midsection, tethering the two songs in a satisfying harmony that took me many listens to notice and appreciate. Bookends “Glacier” and “Moor” round out Mourning Earth’s synchronicity as the longest tracks on the album, supplying grandeur and gravitas that ensure it begins and ends with fully baked moods.

In the past, Fen’s releases initially fascinated me yet lacked the staying power to compel frequent visits despite stellar moments. Mourning Earth changes that, and its forty-seven-minute runtime proves an incredible boon as the band expertly strikes the balance between anticipation and payoff. And despite being Fen’s shortest LP to date, Mourning Earth achieves a remarkable diversity of sounds and influences without ever sacrificing its singular identity. With the bloat plaguing earlier albums gone, not much else requires attention. More space within the mix would give the wealth of sounds a bit more breathing room, particularly on busier songs like “Tectonic” and “Barrow,” and “Abyssal Plain” doesn’t quite live up to the heights of other tracks. In all, though, Mourning Earth stands uncontested as my favorite Fen album to date.

Mourning Earth’s magic takes time to gestate, and over my repeated listens Fen’s hooks unfurled and took root as I helplessly succumbed to their enthralling collection of swamp songs. The Watcher’s spritely and ethereal guitars weave melodic threads throughout, even during atmospheric passages, and his withered rasps and roars scrape like the dry crackle of leaves while the wistful cleans brim with forlorn charm. Mourning Earth bursts at the seams with ideas and styles, and it continues to entice me as my time with this review draws nigh. I’m unclear on when Elemental Part Two may arrive or what it will be about, but Part One lets listeners know that this trio has plenty more to say before they Fenish.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

Wer muss hier nicht an seine HR-Abteilung denken? 😂🤘🏻

Also ich hätte Herrn Hegg die Chance gegeben! 🤷‍♂️

https://www.youtube.com/shorts/BaCIuTbsIo8

#amonamarth #metal

The video is a funny comedy skit with Johan Hegg, singer of the metal band Amon Amarth. He applies for an IT internship to take time off before touring. The interviewer gets his name wrong all the time. In the end he does not get the job because he lacks living abroad on his CV.
#AmonAmarth #JohanHegg #ITInternship #Metal #ComedySkit #Youtube

https://youtube.com/shorts/BaCIuTbsIo8

OK, YouTube hat mich vor dem ersten Kaffee geschafft 🤘🤣

https://www.youtube.com/shorts/BaCIuTbsIo8

#metal #it #AmonAmarth

This week on Matt's MoshCast we're talking awesome, funny and ridiculous band names. What do Amon Amarth have to do with Frodo and is Lorna Shore a Batman tribute band? Listen to find out!

#podcast #metalpodcast #amonamarth #stratovarius #dyingfetus #fitforanautopsy

https://www.youtube.com/watch?v=7ju-UC6prqs

Fangen wir den Tag mal entspannt an

https://song.link/y/-Y0OKTuMICM

#AmonAmarth

Moin

I know I didn’t have a single good thing to say about #AmonAmarth’s last single—the acoustic fire place thingy one. But this new track absolutely slaps!

https://musiccloud.io/ZoE9W

Now that's what I call a proper campfire #acoustic song 🤘

https://www.youtube.com/watch?v=O0EPPzy6s_k

#AmonAmarth #metal #music #musicvideo #youtube

AMON AMARTH - Upphaf

https://www.youtube.com/watch?v=O0EPPzy6s_k

#NowPlaying #FediRadio #UnoRadio #Music #AmonAmarth

Nah, the new acoustic song by #AmonAmarth doesn't work. At all. Nope. Sorry.
https://musiccloud.io/KtH_o

I used to love poppy, ultra-processed power metal. Blind Guardian basically killed that whole scene for me when I discovered them and realized power metal could have riffs, but a part of me still remembers what I loved. A part of me won’t let it go. And like a shadow from the past, Sweden’s Shadowborne arrived with their debut Heaven’s Falling. Led by vocalist Eira Shadowborne and accompanied by keyboardist The Warden, guitarist The Oathbearer, bassist The Keeper, and drummer The Warbringer,1 Shadowborne seek to make their mark on the genre with fantasy storytelling, monumental hooks, and shiny, bloopy synthesizers. With groups like Twilight Force, Fellowship, and Brothers of Metal reminding me in recent years that there’s still room in my heart for things campy and glossy, and catching some nostalgia pangs to boot, I decided to give Shadowborne a fair shake. But does Heaven’s Falling spell a new rising star in power metal, or are Shadowborne just another curd in the cheese wheel?

Heaven’s Falling is an uncomplicated debut for Shadowborne: ten tracks,2 thirty-five minutes of dramatic, anthemic, and highly polished power metal. Shadowborne pivot between two modes on Heaven’s Falling: folky, Brothers of Metalesque jaunts like “Hold the Door” and “The Wall” and synthy, pop-hooked 80s LARP à la Battle Beast on songs like “Stranger to Myself” and “Wolf and the Queen.” Oathbearer does the Sabaton thing and riffs in sync with Warden’s synth stings on “High and Low” while Warbringer lays out mid-paced marches, barring one diversion into speed on “Custodians.” Production-wise, Heaven’s Falling is bright and loud, and nothing sounds particularly real, especially the wispy clean guitars (“End of the World”) and Warden’s toothless gang vocals (“Hold the Door”). It’s the kind of metal that Beast In Black can, and likely do, write in their sleep. Simply, anyone familiar with the Europower scene over the past fifteen(ish) years will know what to expect from Shadowborne.

And if you know Europower, then you know that Chorus Is King. Heaven’s Falling hits its stride with every chorus, accomplished by the phenomenal pipes of Eira Shadowborne. Evoking the likes of Ylva Eriksson (Brothers of Metal) and Noora Louhimo (ex-Battle Beast), Shadowborne belts and croons with power and charisma, sounding thoroughly in charge across Heaven’s Falling. Album highlights “Heaven’s Falling (Dragon’s Hymn)” and “Raven” demonstrate Shadowborne at her best, pouring copious heart into their strong melodies and itch-scratching layered harmonies. Beyond Shadowborne’s battle cries, there’s a commitment to bigness across Heaven’s Falling that contributes to its catchiness. Whether stomping away in “Wolf and the Queen” or waxing melodramatic balladry on “The End of the World,” Shadowborne fill as much sonic space and layer parts as hard as the music can take before bursting. Shadowborne the band is built around Shadowborne, the singer, and Heaven’s Falling is shaped around letting her shine in its biggest moments.

Heaven’s Falling’s greatest strength, however, comes with a price. Like much chorus-centric music, Heaven’s Falling suffers from a severe case of Boring Verse Syndrome (BVS).3 Most songs default to banal chugging and space-filling synths with little flair or variation. Even Shadowborne’s lines aren’t nearly as engaging in the verse, sounding somewhat thin on “Stranger to Myself” and “The End of the World.” As a result, Heaven’s Falling feels somewhat hollow. Where songs do feel fleshed out, like “Custodians” with its propulsive tempo and “Raven” with its darker verse contrasting its bright chorus, plus an Amon Amarth march in the intro, they stand out drastically. Oathbearer’s solos in particular could’ve cooked longer, as they’re slick, proficient, and wickedly fun across the board but also far, far too brief to leave a lasting impact. A great chorus is good to have, and Shadowborne can deliver them, but Heaven’s Falling needs great whole songs to be a great whole album.

What holds Shadowborne’s debut down is what holds much of the genre back: entrapment within genre tropes. Heaven’s Falling is loaded with talent and vim, and a lot of these hooks are going to be stuck in my head for a long time. But between the BVS, flaccid production, and played-out approach to power metal on Heaven’s Falling, Shadowborne have crafted a record that simply can’t stand out. Maybe Shadowborne just needed to prove to themselves they could write an album, and their sophomore will be more adventurous. Or maybe this is exactly what they wanted to write. Either way, fans of power metal may like what they’ll hear, but they’ll certainly have heard it already.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Scarlet Records
Websites: bandcamp.com/heavens-falling | facebook.com/Shadowborne
Releases Worldwide: June 19th, 2026

Here Is Our Review Of The Recent Amonklok Conquest Tour https://aggrogamer.com/article/12794/Review--The-Amonklok-Conquest-Tour-2026 #Music #Dethklok #AmonAmarth

Review — The Amonklok Conquest Tour 2026 https://aggrogamer.com/article/12794/Review--The-Amonklok-Conquest-Tour-2026 #Music #Dethklok #AmonAmarth

Review — The Amonklok Conquest Tour 2026 https://aggrogamer.com/article/12794/Review--The-Amonklok-Conquest-Tour-2026 #Music #Dethklok #AmonAmarth

ICYMI: Review — The Amonklok Conquest Tour 2026 https://aggrogamer.com/article/12794/Review--The-Amonklok-Conquest-Tour-2026 #Music #AmonAmarth #Dethklok

Review — The Amonklok Conquest Tour 2026 https://aggrogamer.com/article/12794/Review--The-Amonklok-Conquest-Tour-2026 #Music #Dethklok #AmonAmarth