#folkmetal — Public Fediverse posts

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Kallomäki - Suruton Saattaja

https://youtu.be/kN2NGhvnDTE

#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic

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

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One of the things I enjoy most about folk metal is that I never know exactly what I’m going to hear until I press play. This is, of course, due to the fact that folk music in general varies so widely depending on the region from which it originates. Hyver, who runs the label Antiq Records in France, has been crafting medieval-style folk/black metal under various musical projects for some time now. Twelve found plenty to praise in 2021’s Au Fleuve de Loire, notwithstanding its patchwork nature. The latest collection of Hanternoz songs is each about a different type of devil from Breton folklore. From what I can gather, A Hed an Noz, a Noz, a Noz loosely translates as “At Night, At Night, At Night” in Breton. Does this album go bump in the night or does it fall with a flat thud?

A Hed an Noz should sound familiar to those who have heard Hyver’s other work. The bread and butter is still the heroic trem-picked guitars and gallant drumming that one can also hear from Véhémence or (to a lesser extent) Grylle. Hyver’s vocals are as chameleonic as ever, adopting many different shades of demonic rasps, growls, and groans that embody the album’s theme. This diversity in vocal styles is fortunate because the diversity of instrumentation has greatly diminished. This time, Hanternoz mostly takes the Cnoc An Tursa approach of examining folk music through a metal lens without much in the way of actual folk instruments, which are sequestered to the lone instrumental interlude “Pe trouz War an Douar.”

The fact that the bag of tricks from which Hanternoz draws is much smaller ends up holding back A Hed an Noz. It’s a sizable step backward from Au Fleuve de Loire, where the folk music and synths were woven directly into the black metal in a more energetic and dynamic fashion. Hanternoz may have taken to heart Twelve’s prior observation of the compositions feeling stitched together because A Hed an Noz is certainly more cohesive, but at the cost of much of its zeal. To be fair, this is not an issue across the board. Most notably, “La Lessive des Trépassés” is punchy and to the point, with Joanna Maeyens’1 guest vocals overlapping enchantingly with the predominant growls. The production of A Hed an Noz is nice and crisp, especially with regard to the bass mixing, which greatly enriches the guitar lines (“La Peste à Limoges,” “Quand j’ai tué le Roi de la Forêt”).

Yet, these promising core elements of A Hed an Noz are undermined by an overreliance on repetition. Opener “Sur le Chemin des fées” is somehow galloping and plodding at the same time, the triumphant guitars becoming muted as they build up again and again towards a payoff that never comes after nearly 12 minutes. Closing track “Quand j’ai tué le Roi de la Forêt” gets stuck in a mid-paced rut, resulting in a more lethargic sensation than should be warranted given the valiant guitar leads. The long-form songwriting in “La Peste à Limoges” fares better, centered around an infectious, bouncy groove which gets my head bobbing, though the midsection is a tad protracted and disjointed. The charismatic vocal delivery helps but isn’t enough to overcome the fact that no song on A Hed an Noz is justified in being over 6 minutes long, yet most of them are.

Ultimately, A Hed an Noz left less and less of an impression on me the more time I spent with it. The delightful unpredictability from Au Fleuve de Loire is simply not present here. I am left puzzled as to why Hanternoz decided to discard the majority of the toolkit that served them well in the past. There is a fair amount of decent material here that would have done better without as much padding, and it’s worth a listen by anyone who enjoys Hyver’s take on medieval black metal. Just expect less medieval and more monotony this time around.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Antiq Records
Websites: antiqofficial.bandcamp.com | facebook.com/people/Hanternoz-Pagan-de-Bretagne
Releases Worldwide: August 3rd, 2026

VALHALORE revisit the song that started a new chapter with “Horizon – Acoustic”

https://voiceofnoir.com/2026/08/17/valhalore-revisit-the-song-that-started-a-new-chapter-with-horizon-acoustic/

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

For years, Scottish outfit Cnoc An Tursa lurked along the periphery of my awareness. I liked the few songs I’d heard, and I frequently saw them referenced while exploring similar artists. Yet their lack of output kept me at a distance; as I expanded my taste for folk metal, I didn’t want to fall in love with a band that had little to no appetite to get in the studio.1 For Cnoc An Tursa, you can lay aside your concerns, because they’re back after a nine-year wait to unveil third full-length A Cry for the Slain. This new opus perpetuates what Cnoc An Tursa has been doing since the band formed twenty years ago—writing blackened folk bangers fraught with grace, passion, and depth. After a prolonged absence, though, it becomes more and more difficult to bounce back if expectations outpace reality’s limitations. So, given the intervening years, does A Cry for the Slain elicit tears of joy or sorrow?

On A Cry for the Slain, Cnoc An Tursa draws upon the soundscapes of both their prior albums to hatch an experience that exists somewhere between them. Debut The Giants of Auld introduced the world to Cnoc An Tursa‘s distinctive Highland hijinx, melding rousing orchestrations with meloblack might. Of their two previous albums, A Cry for the Slain shares more in common with The Giants of Auld, harkening to the debut’s more direct songwriting than The Forty Five’s melancholic, key-drenched atmospheres. The Forty Five’s solemnity persists on A Cry for the Slain, but its application rings bittersweet as triumphant melodies dance between wistful choirs and forlorn evocations. While all three albums sound unmistakably like them, their latest takes earlier victories and forges them together into Cnoc An Tursa’s best album to date.

Throughout A Cry for the Slain, Cnoc An Tursa fuses ethereal majesty with blackened stylings and traditional melodies to create a gorgeous folk metal tapestry. The band’s allure lies with their finesse as they conjure captivating and earnest music, and the more I spin A Cry for the Slain, the more I appreciate its stark and stunning beauty. Crashing waves and reverb-laden guitars set the tone within the first track, “Na for Ghorma.” The mournful female vocals crescendo into an inevitable trudge that releases into furious trems and grating rasps on follow-up “The Caoineag.” Cnoc An Tursa consistently pits black metal acerbity against contemplative sorrow, deftly wending between complex atmospheres and emotions. This is perhaps best demonstrated on tracks “Baobhan Sith”2 and “Alba in My Heart,” where Cnoc An Tursa expertly controls song dynamics and tension with peaks and valleys in volume and pathos. Also, I’d be remiss not to mention my favorite track “Am Fear Liath Mòr,” which boasts an otherworldly quality and dextrous melodic leads that simultaneously remind me of “Love Will Tear Us Apart,” Iron Maiden, and Black Cross Hotel, yet still undeniably sounds like Cnoc An Tursa.

Despite succeeding on so many fronts, A Cry for the Slain flounders on penultimate track “Address to the Devil.” To be fair, it mostly falls victim to the heights of the preceding tracks, which all possess strong identities and exemplary writing. Comparatively, “Address to the Devil” stands out as missing the same soul. It starts promisingly enough, with frenzied tremolos lashing against scathing vocals, but from there the pace decelerates to a deliberate march. Soon enough, the song strips back to a twinkling synth and fabulous bass noodling, providing a solid core that ultimately lacks purpose or a melodic through-line to bring everything together.3 Besides “Address to the Devil,” I have no material complaints. The production and mix are smart and balanced, the forty-four-minute runtime is just right, and A Cry for the Slain’s replayability is relentless.

Cnoc An Tursa breaks their nine-year silence with a bang, and fans of their work should be pleased with A Cry for the Slain. As a newer convert, I’m disappointed I didn’t make the time to discover them earlier, but visiting their prior albums along with the new one has brought me immense, befolkened joy. I hope we don’t have to wait as long for their next outing, but until then, I’m content listening to A Cry for the Slain, knowing that time hasn’t dulled their ability to Cnoc one out of the park.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026

ULVER (Noruega) presenta nou single: "Hollywood Babylon (Gazelle Twin Remix)" #Ulver #BlackMetal #FolkMetal #Ambient #AvantGarde #Electronica #NewWave #Synthpop #Març2026 #Noruega #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

Kenstrosity’s Knightly Nightmare

AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

This Used To Be Heaven by AngelMaker

ClarkKent’s Sonic Symphonics

Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

COLOSSUS SUPREMA by BRAINBLAST

Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

Escape the Wonderland by Gods of Gaia

Grin Reaper’s Frozen Feast

Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

KEM by Hounds Of Bayanay

Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

Siltskin by Blood Red Throne

Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

Thus Spoke’s Random Revelations

The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

Recursive Infinity by The Algorithm

Owlswald’s Holiday Scraps

Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

Entanglement by Sun Of The Suns

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

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

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

Cemican – U k’u’uk’ankil Mayakaaj Review

By Kenstrosity

Hailing from Guadalajara, Mexico, folk-death septet Cemican caught my attention way back in 2019 with their third record, In Ohtli Teoyohtica In Miquiztli. Boasting strong riffcraft and a penchant for chimeric songwriting, Cemican’s unique style and compelling subject matter challenged what I expected from the death metal scene at the time. Focused on bringing to the fore the sounds, rhythms, and even the language of pre-Mexican indigenous peoples (specifically, Mayan), Cemican’s mission serves a cultural spirit lost to time colonialism. Depicting tales of ancient Mayan gods and legends, and based on the mysticism and ideology of Mayan culture, upcoming fourth outing, U k’u’uk’ankil Mayakaaj, quickly earned my undivided attention.

U k’u’uk’ankil Mayakaaj sees Cemican at their heaviest and most adventurous yet. Pounding drums of various disciplines hit with the impact of a titan’s fist on sacred ground, as roaring growls and ethereal chants swirl amongst stomping riffs and tempestuous tremolos. Soaring atop these storming pyrotechnics, an assortment of flutes (played by no fewer than five of Cemican’s seven musicians) sing ancestral melodies, sometimes in lockstep with the modern metallics, other times as an uplifting counterpoint. A rebellious heavy metal spirit influences a fair portion of Cemican’s songwriting this time around, going so far as to step boldly into the spotlight and overwrite the record’s death metal core entirely, twice (“El Niño que Contemplaba a las Estrellas,” “¿Dónde estás?”). Regardless of what corporeal form it takes, though, Cemican’s sound is epic, ancient, and massive.

At an hour and seven minutes, U k’u’uk’ankil Mayakaaj sounds like a bloated mass desperate for self-editing on paper. Yet, six years of careful attention to detail result in 12 songs that all have something interesting and memorable to take home, and a wealth of ideas that support and even elevate those takeaways. Killer riffs in “Yóok ‘ol kaab Maya” work in tandem with wild flutes, squealing solos, and a somewhat unsteady chorus that feels natural in context with the composition, where it would feel clumsy elsewhere. Brutal speed intensifies “Los Guardianes de la Tierra” as blackened winds chill companion piece “Hun-Came” to the bone, creating a thrilling but well-timed shift from the chunky grooves of earlier bangers like “Tán tí le Xibalba” and powerful opener “Kukulkán Wakah Chan.” Even Cemican’s long-form excursions, which build sturdy bridges between tribal instrumentals, deadly heft, and ethereal melodicism, boast a compelling multitude of ideas, buttery-smooth transitions, and rich textures that easily justify their protracted runtimes (“Viaje Astral del Quetzal de Fuego,” “Horizonte de Almas”).

Of course, with so many ideas stuffed into one work, there are bound to be some kinks. For Cemican, those hiccups largely surface when they shift styles with no telegraphing. Such outliers as “El Niño que Contemplaba a las Estrellas” and “¿Dónde estás?” are good songs on their own. In particular, it’s surprising how successful “El Niño que Contemplaba a las Estrellas” is as a heavy/power epic. However, there’s very little connective tissue—right down to the lighter and cleaner guitar tone—that explains its existence in the album context, other than subject matter. “¿Dónde estás?” damages album cohesion in much the same way, and with somewhat less success than its album-mate due to less memorable writing and ballad-like wistfulness. Without these tracks, not only would U k’u’uk’ankil Mayakaaj clock in at a more reasonable 56 minutes total, but it would feel more consistent and smooth. That said, “El Niño que Contemplaba a las Estrellas” would’ve made an excellent bonus track or even just a separate single that I’d happily recruit for playlist duty.

In sum, Cemican solidify their status as one of the more interesting acts in the death metal universe. Their adoption of indigenous music as part of their formula goes a long way towards setting them apart from their peers sonically, but it’s their fearless songwriting and meticulous detailing that seals the deal. U k’u’uk’ankil Mayakaaj represents their most refined and compelling work to date, and while it has its missteps, even those would find purchase on another record better built to support them. It just goes to show how talented and skilled Cemican are. With this in mind, I look forward to spending more time enjoying U k’u’uk’ankil Mayakaaj, a qualified, but unique triumph.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: cemican1.bandcamp.com/album/u-kuukankil-mayakaaj | facebook.com/pages/CEMICAN/320421353267
Releases Worldwide: October 31st, 2025

#2025 #35 #Cemican #DeathMetal #FolkMetal #HeavyMetal #MTheoryAudio #MelodicDeathMetal #MexicanMetal #Oct25 #Review #Reviews #UKUUkAnkilMayakaaj

AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer

Kalaveraztekah // Nikan Axkan [May 2nd, 2025]

AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.

Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0

Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0

Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0

Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0

Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah‘s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0

Show 6 footnotes

1. Tzompantli doesn’t count ’cause they’re from California and they’re only “good.” ↩
2. I believe we call them Aguascalentenses. – Dolph ↩
3. Interesting to note that the band is from Aguascalientes, because the region was, in fact, the home of the Chichimeca groups, which, according to my deep research (yup, doin’ my own research just like RFK Jr. told me to!) became a kind of archetype of “noble savages” for both the Spaniards and the Mexica (Aztecs) in the 1500s. Rather than being a single group with a shared language, the Chichimeca groups were spread throughout central Mexico, and following the discovery of silver, they were war-crimed into a decades-long conflict and eventual decline, and by the beginning of the 1600s, they “disappeared as distinguishable cultural entities” (Schmal, 2019). Seven tribes would be the basis of a mighty seven-album conceptual cycle, my dudes. I’m just sayin’. ↩
4. Is that ironic? ↩
5. It really makes you wonder how far is heaven. – Dolph ↩
6. Surely, scooped tone production existed before The Zenith Passage. – Dolph ↩

#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory

Looking forward to seeing local band Valhalore live tomorrow night. Symphonic folk metal with a touch of melodic death, power metal and Viking (sub-genre bingo!). Metal with folk flutes, tin whistle, synth, cello - it's all there.

I'm not really familiar with their work, but my daughter convinced us to go with her, so I expect it will be fun.

My homework for #MetalSchool tonight is this:

Beyond The Stars from Valhalore
https://valhalore.bandcamp.com/album/beyond-the-stars

#Valhalore #metal #FolkMetal #Brisbane #LiveMusic

Valhalore – Beyond the Stars Review

By Twelve

Valhalore is a great name for a band. Don’t get me wrong, I think it’s a little goofy—but look, you get it instantly. “Valhalla?” Folk metal. “Lore?” Symphonic/power metal. Put them together and you get that exact album cover. Beyond the Stars is Valhalore’s sophomore release, following a seven-year silence from their debut. It’s a long time to cook up something cool, and I’m an easy mark for this kind of music, but Valhalore are treading a well-worn path in their fusion of styles. The question is certainly not what kind of music you’ll find on Beyond the Stars, but how well it is executed and what will set these Australians apart from their many contemporaries.

The answer to the question, of course, is wind instruments. Valhalore do indeed play a blend of symphonic, folk, and power metal that treads easily into melodic death metal; the three guitarists (Anthony Willis, Lucas Fisher, and Joseph Dipisa-Fiorenza on bass) bring on the power, the riffs, and the leads; there are roars and clean singing (Fisher and Lachlan Neate), and Morgan Cox’s drumming keeps exactly the right pace for the adventurous spirit of the album. All of that is standard, but Sophie Christensen is what sets Beyond the Stars apart, her contribution of wind instruments present throughout. These flutes and pipes soften the music somewhat, offering a powerful counter to what is otherwise a fast-paced, heavy folk metal album. Combine this with cello and mandolin from Neate and you get an album that deftly balances strong power metal with organic, authentic folk tunes.

Authenticity really is the key here. Beyond the Stars bears some resemblance to Time II (Wintersun) in its pace and seeming influence from Japan in the wind section, but avoiding samples allows Valhalore to breathe more easily. From there, it’s all about balance. “Within the Fire” is a great song with strong riffs, a huge build, and an awesome chorus, and the same can be said for “A Walk Among the Stars.” Valhalore is a little given to the standard idea of balancing growling verses with catchy, clean-sung choruses, but what the heck—it’s standard for a reason, and they execute it well. On the softer side, “Wayfinder” demonstrates more clearly than any other song the power of authenticity. For much of the song, the mandolin, cello, and wind instruments are all the support the singing needs. It’s frankly gorgeous, and demonstrates the breadth of talent in performance and songwriting Valhalore are working with, not to mention the emotion, without which the whole thing would fall apart.

To some extent, Beyond the Stars suffers from having too much of a good thing. A little repetition in a strong formula is hardly bad, but I find the journey stalls a touch in the middle. After the stunner that is “Wayfinder,” neither “Horizon” nor “The World Between” land for me; both feel like lesser versions of the trio that opens the album. In the case of “Horizon,” I can’t help but feel the guitars would be stronger leads for the song’s aggressive pace, and I just don’t care much for the chorus in “The World Between.” With so much formula seemingly at work, it is perhaps unsurprising that the full forty-eight minutes is not fully engaging. For more evidence of this idea, see “Heart of the Sea,” the song that shatters this feeling—and the one most unlike the others. Part of that is the guest spot from Anny Murphy (Cellar Darling, ex-Eluveitie), but much of it is simply the great writing, catchy vocal lines, and sense of something different. It’s almost progressive in its writing, and it feels wistful and strong, again with the emotional vibrancy of Valhalore coming up to shine.

Beyond the Stars is a very fun album. To some extent, it is predictable—you’re not in for any serious surprises, but rather for an exciting style of metal written and performed very well. It’s a little familiar and a lot fun, and you can hear that Valhalore are seasoned musicians who love what they do. For my part, I feel right at home here, and it seems they do too. Hopefully, we won’t have to wait so long for the next instalment—I would love more of this music in my life.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Roar Rock of Angels Records
Websites: valhalore.bandcamp.com | facebook.com/valhalore
Releases Worldwide: April 11th, 2025

#2025 #30 #Apr25 #AustralianMetal #BeyondTheStars #CellarDarling #Eluveitie #FolkMetal #MelodicDeathMetal #Review #Reviews #RoarRockOfAngelsRecords #SymphonicMetal #Valhalore #Wintersun

Μπαλάντα "συναυλιακού τύπου" για αναμμένους αναπτήρες (όχι κινητά ΓΤΣΣ 😈 ) και τραγούδι από το κοινό, με δυνατό ξέσπασμα στη λήξη.

Σπάει την άβυσσο φωτιά στον ουρανό
που την κεντάνε νύχτα οι Πλειάδες,
η Μοίρα θα χορεύει με το Θάνατο
όταν θα κλείνουνε οι Συμπληγάδες.

Εκεί που πάμε θα ‘μαστε οι ζωντανοί,
σαν αστραπή στη νυχτωδία
που θα φωτίσει όσους έπεσαν νεκροί,
αυτούς που έπνιξε η αγωνία.


#KHIRKI #ERisNowPlaying #music #folkmetal #metal #παίζειτώρα #βαράτε_βιολιτζήδες #μουσική

https://khirkirocks.bandcamp.com/track/-

Band of the month: #Saor

#Youtube (my favorite album)
https://youtu.be/CC90TVz0nAs

#Bandcamp (my second favorite album)
https://saor.bandcamp.com/album/aura

#Spotify (artist page)
https://open.spotify.com/artist/4rHMzJ1RKUMtid1K2QEYbr

The best #atmospheric #folkmetal / #blackmetal out there, from #scotland. Should be my second most listened to band of 2019 (after #korgonthurus of course). Their whole discography is excellent without a doubt.