#ensiferum — Public Fediverse posts

Das beste aus #Myrkgrav #Otyg #Finntroll und #Ensiferum in eigenem Stil und gutem zugänglichen Songwriting. So klingt die neue #Grimner Scheibe #Stormvingar 😍
https://bandgrimner.bandcamp.com/album/stormvingar
Songtipp: Där Mjöd och Högmod Flödar🎶🎸🪈🥁
#metal #powermetal #folkmetal

Das beste aus #Myrkgrav #Otyg #Finntroll und #Ensiferum in eigenem Stil und gutem zugänglichen Songwriting. So klingt die neue #Grimner Scheibe #Stormvingar 😍
https://bandgrimner.bandcamp.com/album/stormvingar
Songtipp: Där Mjöd och Högmod Flödar🎶🎸🪈🥁
#metal #powermetal #folkmetal

Das beste aus #Myrkgrav #Otyg #Finntroll und #Ensiferum in eigenem Stil und gutem zugänglichen Songwriting. So klingt die neue #Grimner Scheibe #Stormvingar 😍
https://bandgrimner.bandcamp.com/album/stormvingar
Songtipp: Där Mjöd och Högmod Flödar🎶🎸🪈🥁
#metal #powermetal #folkmetal

Das beste aus #Myrkgrav #Otyg #Finntroll und #Ensiferum in eigenem Stil und gutem zugänglichen Songwriting. So klingt die neue #Grimner Scheibe #Stormvingar 😍
https://bandgrimner.bandcamp.com/album/stormvingar
Songtipp: Där Mjöd och Högmod Flödar🎶🎸🪈🥁
#metal #powermetal #folkmetal

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

https://www.europesays.com/at/374045/ Ensiferum feiern ihre frühen Jahre live mit Jari Mäenpää #AT #Austria #Ensiferum #Entertainment #Europa #JariMäenpää #Jubiläum #Live #Music #Musik #Österreich #PetriLindroos #RagnarökFestival #Reunion #Rückkehr #Tour #Tournee #Unterhaltung #Wintersun

Ensiferum to be joined by founding vocalist Jari Mäenpää for the first time outside of Finland

Founding Ensiferum vocalist/guitarist Jari Mäenpää will reunite with the band for a series of special live performances, marking…
#Finland #FI #Europe #Europa #EU #ensiferum #finland #hardcore #JariMäenpää #Lambgoat #Metal #News #Suomi #uutiset
https://www.europesays.com/3225657/

Jari Mäenpää is reuniting with Ensiferum for special Early Years show at Ragnarök Festival 2027

Details: https://metalinsider.net/news/jari-maenpaa-to-reunite-with-ensiferum-at-ragnarok-festival-2027

#Ensiferum #JariMäenpää #Wintersun #RagnarökFestival

Jari Mäenpää is reuniting with Ensiferum for special Early Years show at Ragnarök Festival 2027

Details: https://metalinsider.net/news/jari-maenpaa-to-reunite-with-ensiferum-at-ragnarok-festival-2027

#Ensiferum #JariMäenpää #Wintersun #RagnarökFestival

https://www.europesays.com/fi/321429/ Festariennakko: Wallhill Metal Festival päättää kesän kotimaisen metallin kärkinimillä #ensiferum #Entertainment #FI #Finland #Finnish #korpiklaani #Music #Musiikki #nicole #Stam1na #Suomi #Tarot #viihde #WallhillMetalFestival

https://www.europesays.com/fi/290717/ Ennätyksellinen Tuska Festival 2026 kävijän silmin — Osa 1: perjantai #BloodIncantation #brhg #DAD #ensiferum #Entertainment #FI #Finland #Finnish #KneelBeforeTheDeath #LostSociety #loudness #Megadeth #pain #skindred #Suomi #tuska #viihde

Didn't get the lyrics then. But got the vibes.
#Ensiferum - Little Dreamer

https://m.youtube.com/watch?v=ILUaqsC0ulI
#Metal #NowListening #funzmusic

Didn't get the lyrics then. But got the vibes.
#Ensiferum - Little Dreamer

https://m.youtube.com/watch?v=ILUaqsC0ulI
#Metal #NowListening #funzmusic

Didn't get the lyrics then. But got the vibes.
#Ensiferum - Little Dreamer

https://m.youtube.com/watch?v=ILUaqsC0ulI
#Metal #NowListening #funzmusic

Didn't get the lyrics then. But got the vibes.
#Ensiferum - Little Dreamer

https://m.youtube.com/watch?v=ILUaqsC0ulI
#Metal #NowListening #funzmusic

This is quite an enjoyable record.
#Atavistia: Old Gods Awaken

Not re-inventing the wheel but fun up-paced #MelodicDeathMetal, the likes of #ChildrenOfBodom, #AetherRealm, #Ensiferum or #Wintersun

This is quite an enjoyable record.
#Atavistia: Old Gods Awaken

Not re-inventing the wheel but fun up-paced #MelodicDeathMetal, the likes of #ChildrenOfBodom, #AetherRealm, #Ensiferum or #Wintersun

This is quite an enjoyable record.
#Atavistia: Old Gods Awaken

Not re-inventing the wheel but fun up-paced #MelodicDeathMetal, the likes of #ChildrenOfBodom, #AetherRealm, #Ensiferum or #Wintersun

DragonForce have announced a North American headlining run to celebrate 20 years of Inhuman Rampage. The tour also marks a new era with Alissa White-Gluz joining the band, alongside support from Ensiferum and Rhapsody of Fire.

Details: https://metalinsider.net/touring/dragonforce-announce-inhuman-rampage-20th-anniversary-fall-2026-north-american-tour

#DragonForce #AlissaWhiteGluz #InhumanRampage #PowerMetal #Ensiferum #RhapsodyOfFire #MetalNews

DragonForce have announced a North American headlining run to celebrate 20 years of Inhuman Rampage. The tour also marks a new era with Alissa White-Gluz joining the band, alongside support from Ensiferum and Rhapsody of Fire.

Details: https://metalinsider.net/touring/dragonforce-announce-inhuman-rampage-20th-anniversary-fall-2026-north-american-tour

#DragonForce #AlissaWhiteGluz #InhumanRampage #PowerMetal #Ensiferum #RhapsodyOfFire #MetalNews

Atavistia – Old Gods Awaken Review

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer,…
#NewsBeep #News #Music #2026 #3.5 #Aephanemer #AttheGates #Atavistia #Aversed #BlackMetal #BuriedRealm #CanadianMetal #ChildrenofBodom #Ensiferum #Entertainment #FolkMetal #Kalmah #May26 #MelodicDeathMetal #OldGodsAwaken #review #Reviews #SelfRelease #SelfReleased #Self-Releases #UK #UnitedKingdom #VikingMetal #Vittra #Wintersun
https://www.newsbeep.com/uk/605623/

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Epic Fest 2026: Video report from Roskilde, Denmark

Author John Wins – 29.4.2026 With hundreds of metal festivals across Europe, the Danish Epic Fest has something…
#Denmark #Danmark #DK #Europe #Europa #EU #denmark #ensiferum #EpicFest #RoyKhan #SonataArctica
https://www.europesays.com/2953578/

https://www.europesays.com/dk/70894/ Epic Fest 2026: Video report from Roskilde, Denmark #Danmark #Denmark #Ensiferum #EpicFest #RoyKhan #SonataArctica

Ensiferum are heading back to North America this fall.
“Winter Storm Over North America” kicks off in September with Firewind.
Details: https://metalinsider.net/touring/ensiferum-announce-north-american-september-2026-tour-with-firewind
#Ensiferum #Firewind #FolkMetal #Metal #TourAnnouncement

Ensiferum are heading back to North America this fall.
“Winter Storm Over North America” kicks off in September with Firewind.
Details: https://metalinsider.net/touring/ensiferum-announce-north-american-september-2026-tour-with-firewind
#Ensiferum #Firewind #FolkMetal #Metal #TourAnnouncement

https://www.europesays.com/ch/43130/ Full Metal Mayrhofen – a great success in the Tyrolean Alps #Alps #BeyondTheBlack #donots #Doro #EmilBulls #Ensiferum #InExtremo #Induction #LiquidSteel #MamboKurt #PalefaceSwiss #TheButcherSisters #Turbobier

Full Metal Mayrhoffen in the Tyrolean Alps

https://metalphotos.org/2026/04/01/full-metal-mayrhoffen-in-the-tyrolean-alps/

Full Metal Mayrhoffen in the Tyrolean Alps

https://metalphotos.org/2026/04/01/full-metal-mayrhoffen-in-the-tyrolean-alps/

Full Metal Mayrhoffen in the Tyrolean Alps

https://metalphotos.org/2026/04/01/full-metal-mayrhoffen-in-the-tyrolean-alps/

Full Metal Mayrhoffen in the Tyrolean Alps

https://metalphotos.org/2026/04/01/full-metal-mayrhoffen-in-the-tyrolean-alps/

https://www.europesays.com/at/35238/ Orden Ogan live 2027: Tour, Tickets, Termine, Städte #AT #Austria #Ensiferum #Entertainment #Live #Music #Musik #OrdenOgan #Österreich #Präsentation #Tour2027 #Tournee #Unterhaltung

#Ensiferum im #Backstage #München waren überraschend gut. Alle Hits gespielt, krass guter neuer Klargesang-Sänger und eine unglaubliche Spielfreude (für finnische Verhältnisse).

#Ensiferum im #Backstage #München waren überraschend gut. Alle Hits gespielt, krass guter neuer Klargesang-Sänger und eine unglaubliche Spielfreude (für finnische Verhältnisse).

#Ensiferum im #Backstage #München waren überraschend gut. Alle Hits gespielt, krass guter neuer Klargesang-Sänger und eine unglaubliche Spielfreude (für finnische Verhältnisse).

New post: Gig Review: Ensiferum / Freedom Call / Dragony – The Dome, London (11th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-ensiferum-freedom-call-dragony-the-dome-london-11th-january-2026/ #Dragony #Ensiferum #FreedomCall

New post: Gig Review: Ensiferum / Freedom Call / Dragony – The Dome, London (11th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-ensiferum-freedom-call-dragony-the-dome-london-11th-january-2026/ #Dragony #Ensiferum #FreedomCall

New post: Ensiferum bring the Winter Storm to London for exclusive 2026 show https://moshville.co.uk/news/tours/2026/01/ensiferum-bring-the-winter-storm-to-london-for-exclusive-2026-show/ #Dragony #Ensiferum #FreedomCall

New post: Ensiferum bring the Winter Storm to London for exclusive 2026 show https://moshville.co.uk/news/tours/2026/01/ensiferum-bring-the-winter-storm-to-london-for-exclusive-2026-show/ #Dragony #Ensiferum #FreedomCall

Remember the Finnish melodic death and power metal fusion of the late ’90s and early ’00s? Bands like Children of Bodom,1 Kalmah, and Norther were all the rage for a short while. You even had stuff like Ensiferum for a folkier interpretation, or Catamenia2 for the blackened side of things. The truth is that it never really left.3 Suotana is one of the bands keeping this sound alive and well, and they have more history than one might think. They spawned in the mid-2000s but took until 2014 to start putting out material. Now, over a decade later, they’re on their fourth full-length, and Ounas II continues right where predecessor Ounas I left off two years ago. Judging them back-to-back, it seems the collective is only growing in strength.

Ounas II is chock full of great songwriting. Melodic death metal, power metal, and even bits of black metal collide in this crazy Finnish kitchen, with Children of Bodom remaining the clear number one influence. Founding members Ville Rautio and Pasi Portaankorva utilize the dual guitar attack in classic ’80s ways (“Winter Visions,” “Twilight Stream”), while Stratovarius sensibilities color their frantic touches of melodic power—both always positives in my book. The harsh vocals of Tuomo Marttinen are frosty and vicious, similar to their swamp brethren in Kalmah.4 Tommi Neitola’s keyboards are the cherry on top, adding a Bodomesque symphonic bombast layer that occasionally approaches Wintersun levels without going overboard (“The Crowned King of Ancient Forest,” “1473 Ounas”).

Ounas II by Suotana

Dealing with two-part concepts is always a challenging task, but Suotana came prepared. It feels like they’ve improved on all of Ounas I’s already strong qualities: the production has more breadth, the album’s layers delve deeper, and there’s more energy and variety in its songs (“Foreverland,” “Twilight Stream”). However, the most impressive thing about Ounas II is that it’s even denser than its sibling. The album clocks in at 39 minutes compared to the first part’s 41,5 which has the huge advantage of avoiding a bloated ‘B-sides’ feel so common with other double album concepts.6 And despite its tight runtime, the songwriting has plenty of room to flourish, as exemplified by “1473 Ounas.” Furthermore, to complement the Summoning cover that crowned the first part, Ounas II unleashes a cover of Children of Bodom’s “Hatebreeder” as its encore. Whether you imagine it as a proper track or a bonus, it’s a great way to end the record with a bang while honoring your influences.7

Suotana has had a long journey to get to this point, and it’s been more than worth it. Their songwriting is only getting faster and better, which further reinforces its catchy extremities. In many ways, Suotana feels like the melodeath-forward twin to Moonlight Sorcery’s excellent brand of power/black metal. Both bands dress to impress with big riffs, melodic violence, and keyboard bombast in all the right ways. Though the back-to-back experience is great, Ounas II is a package that works wonders on its lonesome too, and I think that’s another mark of success for the band. I’m excited to see what these self-aware wizards pictured above are going to summon from that lake next, Ounas or not.

Tracks to Check Out: “Winter Visions,” “Twilight Stream,” “The Crowned King of Ancient Forest,” and a special shout out to the excellent cover of “Hatebreeder.”

Remember the Finnish melodic death and power metal fusion of the late ’90s and early ’00s? Bands like Children of Bodom,1 Kalmah, and Norther were all the rage for a short while. You even had stuff like Ensiferum for a folkier interpretation, or Catamenia2 for the blackened side of things. The truth is that it never really left.3 Suotana is one of the bands keeping this sound alive and well, and they have more history than one might think. They spawned in the mid-2000s but took until 2014 to start putting out material. Now, over a decade later, they’re on their fourth full-length, and Ounas II continues right where predecessor Ounas I left off two years ago. Judging them back-to-back, it seems the collective is only growing in strength.

Ounas II is chock full of great songwriting. Melodic death metal, power metal, and even bits of black metal collide in this crazy Finnish kitchen, with Children of Bodom remaining the clear number one influence. Founding members Ville Rautio and Pasi Portaankorva utilize the dual guitar attack in classic ’80s ways (“Winter Visions,” “Twilight Stream”), while Stratovarius sensibilities color their frantic touches of melodic power—both always positives in my book. The harsh vocals of Tuomo Marttinen are frosty and vicious, similar to their swamp brethren in Kalmah.4 Tommi Neitola’s keyboards are the cherry on top, adding a Bodomesque symphonic bombast layer that occasionally approaches Wintersun levels without going overboard (“The Crowned King of Ancient Forest,” “1473 Ounas”).

Ounas II by Suotana

Dealing with two-part concepts is always a challenging task, but Suotana came prepared. It feels like they’ve improved on all of Ounas I’s already strong qualities: the production has more breadth, the album’s layers delve deeper, and there’s more energy and variety in its songs (“Foreverland,” “Twilight Stream”). However, the most impressive thing about Ounas II is that it’s even denser than its sibling. The album clocks in at 39 minutes compared to the first part’s 41,5 which has the huge advantage of avoiding a bloated ‘B-sides’ feel so common with other double album concepts.6 And despite its tight runtime, the songwriting has plenty of room to flourish, as exemplified by “1473 Ounas.” Furthermore, to complement the Summoning cover that crowned the first part, Ounas II unleashes a cover of Children of Bodom’s “Hatebreeder” as its encore. Whether you imagine it as a proper track or a bonus, it’s a great way to end the record with a bang while honoring your influences.7

Suotana has had a long journey to get to this point, and it’s been more than worth it. Their songwriting is only getting faster and better, which further reinforces its catchy extremities. In many ways, Suotana feels like the melodeath-forward twin to Moonlight Sorcery’s excellent brand of power/black metal. Both bands dress to impress with big riffs, melodic violence, and keyboard bombast in all the right ways. Though the back-to-back experience is great, Ounas II is a package that works wonders on its lonesome too, and I think that’s another mark of success for the band. I’m excited to see what these self-aware wizards pictured above are going to summon from that lake next, Ounas or not.

Tracks to Check Out: “Winter Visions,” “Twilight Stream,” “The Crowned King of Ancient Forest,” and a special shout out to the excellent cover of “Hatebreeder.”

Remember the Finnish melodic death and power metal fusion of the late ’90s and early ’00s? Bands like Children of Bodom,1 Kalmah, and Norther were all the rage for a short while. You even had stuff like Ensiferum for a folkier interpretation, or Catamenia2 for the blackened side of things. The truth is that it never really left.3 Suotana is one of the bands keeping this sound alive and well, and they have more history than one might think. They spawned in the mid-2000s but took until 2014 to start putting out material. Now, over a decade later, they’re on their fourth full-length, and Ounas II continues right where predecessor Ounas I left off two years ago. Judging them back-to-back, it seems the collective is only growing in strength.

Ounas II is chock full of great songwriting. Melodic death metal, power metal, and even bits of black metal collide in this crazy Finnish kitchen, with Children of Bodom remaining the clear number one influence. Founding members Ville Rautio and Pasi Portaankorva utilize the dual guitar attack in classic ’80s ways (“Winter Visions,” “Twilight Stream”), while Stratovarius sensibilities color their frantic touches of melodic power—both always positives in my book. The harsh vocals of Tuomo Marttinen are frosty and vicious, similar to their swamp brethren in Kalmah.4 Tommi Neitola’s keyboards are the cherry on top, adding a Bodomesque symphonic bombast layer that occasionally approaches Wintersun levels without going overboard (“The Crowned King of Ancient Forest,” “1473 Ounas”).

Ounas II by Suotana

Dealing with two-part concepts is always a challenging task, but Suotana came prepared. It feels like they’ve improved on all of Ounas I’s already strong qualities: the production has more breadth, the album’s layers delve deeper, and there’s more energy and variety in its songs (“Foreverland,” “Twilight Stream”). However, the most impressive thing about Ounas II is that it’s even denser than its sibling. The album clocks in at 39 minutes compared to the first part’s 41,5 which has the huge advantage of avoiding a bloated ‘B-sides’ feel so common with other double album concepts.6 And despite its tight runtime, the songwriting has plenty of room to flourish, as exemplified by “1473 Ounas.” Furthermore, to complement the Summoning cover that crowned the first part, Ounas II unleashes a cover of Children of Bodom’s “Hatebreeder” as its encore. Whether you imagine it as a proper track or a bonus, it’s a great way to end the record with a bang while honoring your influences.7

Suotana has had a long journey to get to this point, and it’s been more than worth it. Their songwriting is only getting faster and better, which further reinforces its catchy extremities. In many ways, Suotana feels like the melodeath-forward twin to Moonlight Sorcery’s excellent brand of power/black metal. Both bands dress to impress with big riffs, melodic violence, and keyboard bombast in all the right ways. Though the back-to-back experience is great, Ounas II is a package that works wonders on its lonesome too, and I think that’s another mark of success for the band. I’m excited to see what these self-aware wizards pictured above are going to summon from that lake next, Ounas or not.

Tracks to Check Out: “Winter Visions,” “Twilight Stream,” “The Crowned King of Ancient Forest,” and a special shout out to the excellent cover of “Hatebreeder.”

Equilibrium – Equinox Review

By Samguineous Maximus

More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests?

Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights.

According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided.

There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations.

Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Nuclear Blast Records
Websites: equilibrium-metal.net | facebook.com/equilibrium
Releases Worldwide: November 28th, 2025

#20 #2025 #avatar #electronicMetal #ensiferum #equilibrium #equinox #finntroll #folkMetal #germanM #melodicDeathMetal #metalcore #nov25 #nuclearBlast #orchestralMetal #review #reviews #rhapsodyOfFire

Equilibrium – Equinox Review

By Samguineous Maximus

More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests?

Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights.

According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided.

There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations.

Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Nuclear Blast Records
Websites: equilibrium-metal.net | facebook.com/equilibrium
Releases Worldwide: November 28th, 2025

#20 #2025 #avatar #electronicMetal #ensiferum #equilibrium #equinox #finntroll #folkMetal #germanM #melodicDeathMetal #metalcore #nov25 #nuclearBlast #orchestralMetal #review #reviews #rhapsodyOfFire

Equilibrium – Equinox Review

By Samguineous Maximus

More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests?

Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights.

According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided.

There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations.

Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Nuclear Blast Records
Websites: equilibrium-metal.net | facebook.com/equilibrium
Releases Worldwide: November 28th, 2025

#20 #2025 #avatar #electronicMetal #ensiferum #equilibrium #equinox #finntroll #folkMetal #germanM #melodicDeathMetal #metalcore #nov25 #nuclearBlast #orchestralMetal #review #reviews #rhapsodyOfFire

Metal Blade Video 🤘 The mighty Ensiferum throwing it down at Summer Breeze 2025 with "Fatherland"! #ensiferum #folkmetal: Ensiferum's latest record, 'Winter Storm' is out now.
Grab your copy/listen HERE: https://www.metalblade.com/ensiferum/ http://dlvr.it/TP44V3 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Metal Blade Video 🤘 The mighty Ensiferum throwing it down at Summer Breeze 2025 with "Fatherland"! #ensiferum #folkmetal: Ensiferum's latest record, 'Winter Storm' is out now.
Grab your copy/listen HERE: https://www.metalblade.com/ensiferum/ http://dlvr.it/TP44V3 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Metal Blade Video 🤘 The mighty Ensiferum throwing it down at Summer Breeze 2025 with "Fatherland"! #ensiferum #folkmetal: Ensiferum's latest record, 'Winter Storm' is out now.
Grab your copy/listen HERE: https://www.metalblade.com/ensiferum/ http://dlvr.it/TP44V3 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Nevermore, The Gathering, Eluveitie, Ensiferum confirmed for ProgPower USA 2026:

#Nevermore #TheGathering #Eluveitie #Ensiferum #ProgPower #ProgPowerUSA #Lineup

Link: https://metalinsider.net/festivals/nevermore-the-gathering-eluveitie-ensiferum-confirmed-for-progpower-usa-2026