#folkmetal — Public Fediverse posts

https://www.europesays.com/be-nl/144403/ Villagers Of Ioannina City – Venceremos #Amusement #BE #België #Belgium #Entertainment #FolkMetal #greece #Griekenland #Music #Muziek #NapalmRecords #progressive #psychrock #recensie #review #venceremos #VillagersOfIoanninaCity #ZwareMetalen

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

Today's music:

Grimner - Träldomens Far

https://youtu.be/xpsNFGeDB2o

#metal #FolkMetal #VikingMetal #sweden #music #np #NowPlaying #MastoMusic

Today's music:

Grimner - Träldomens Far

https://youtu.be/xpsNFGeDB2o

#metal #FolkMetal #VikingMetal #sweden #music #np #NowPlaying #MastoMusic

https://www.europesays.com/uk/310944/ Völur & Cares – Breathless Spirit Review #2025 #4.0 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #Entertainment #FolkMetal #HollowEarth #jazz #KingGoat #music #Review #Reviews #UK #UnitedKingdom #Volur #Völur&Cares

Völur & Cares – Breathless Spirit Review

By Twelve

“Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore—whose influence aims to transcend an already-impressive trio to Valhallan heights. However do they fare?

But first, a correction: in reviewing Death Cult, I noted that “the guitars do not dominate, nor do they crush the listener; instead, they unsettle, distort, and act as anchor for the vocals and electric violins that make up the true meat of the music.” Völur has no guitarist—only Lucas Gadke (Blood Ceremony), who plays bass (in addition to vocals and piano). The electric violins are indeed the “true meat of the music;” Völur create their uniquely haunting sound through intense distortion on Laura Bates’s violin and viola,1 giving them a surprisingly heavy metal basis to work with—certainly I’d never have thought there’s no guitar in the blackened doom mania that is “Windbourne Sorcery II,” and I’m still not 100% sure I believe it. Previously, I compared the group to a gloomy “Apocapyse Orchestra meets King Goat” project, but, in hindsight, Apocalyptica might have been a better base point to use.

Realistically, though, none of that matters because Völur is unique in too many ways to build adequate comparisons, and Cares has only strengthened that position. Where Death Cult emphasized the heavier, doom metal basis of Völur’s material, Breathless Spirit leans more classical, a change that highlights the incredible range of the music, passing also through doom metal, black metal, folk, jazz, and drone along the way—and all of it done with “just” a violinist, bassist, and drummer (Justin Ruppel). What’s extra interesting (on an already very interesting record) is that Cares contributes piano, synthesizers, theremin, and textures. His production adds layer upon layer of grimy, modern darkness that contributes heavily to the metal feel of Breathless Spirit. It is, put simply, extremely experimental. It also works magnificently.

From the classically-inspired2 “Hearth,” Breathless Spirit’s instrumental intro whose motifs just keep reappearing, to the towering doom metal conclusion of “Death in Solitude,” Völur are as engaging as they are unpredictable. I mentioned that “Windbourne Sorcery II” has the album’s blackened highlight, with Bates’s utterly unhinged shrieks atop a steady alarm of urgency from her violin. That same song has an almost funeral buildup, a chilling passage I compare favorably with Bell Witch’s Mirror Reaper3. The title track is the highlight for me; Gadke’s roars are front and center, and all of his vocals have depth and command to them, recalling Barren Earth’s On Lonely Towers.4 Guest vocals from Amy Bowles (ex-Hollow Earth) are a fantastic counter to his baritone cleans, and the brief improvizations a third of the way in is chaotic and delightful. You can dance to the haunting middle section, but it ends on a sense of heavy, epic urgency. Whatever style they try, Völur & Cares can’t help but create something beautiful. Much credit also belongs to Ruppel, whose measured drumming keeps Breathless Spirit grounded in a steady, doom-laden theme that serves it well.

I’ve run out of words, but there’s so much more to say. Breathless Spirit is a hard album to describe with any level of brevity. It explores worlds I’ve only hinted at here, and is much stronger than the sum of its parts. It’s not perfect—”On Drangey” is perhaps a touch too long for my preferences—but it hardly has to be. Breathless Spirit should enshrine Völur and Cares as experts in the experimental. Equal parts beautiful, haunting, and dark, Breathless Spirit defies my vocabulary—you simply must listen for yourself.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 192 kbps mp3
Label: Blackthrone Productions
Websites: volur.bandcamp.com | facebook.com/VolurDoom
Releases Worldwide: August 8th, 2025

#2025 #40 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #FolkMetal #HollowEarth #Jazz #KingGoat #Review #Reviews #Volur #VölurCares

Völur & Cares – Breathless Spirit Review

By Twelve

“Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore—whose influence aims to transcend an already-impressive trio to Valhallan heights. However do they fare?

But first, a correction: in reviewing Death Cult, I noted that “the guitars do not dominate, nor do they crush the listener; instead, they unsettle, distort, and act as anchor for the vocals and electric violins that make up the true meat of the music.” Völur has no guitarist—only Lucas Gadke (Blood Ceremony), who plays bass (in addition to vocals and piano). The electric violins are indeed the “true meat of the music;” Völur create their uniquely haunting sound through intense distortion on Laura Bates’s violin and viola,1 giving them a surprisingly heavy metal basis to work with—certainly I’d never have thought there’s no guitar in the blackened doom mania that is “Windbourne Sorcery II,” and I’m still not 100% sure I believe it. Previously, I compared the group to a gloomy “Apocapyse Orchestra meets King Goat” project, but, in hindsight, Apocalyptica might have been a better base point to use.

Realistically, though, none of that matters because Völur is unique in too many ways to build adequate comparisons, and Cares has only strengthened that position. Where Death Cult emphasized the heavier, doom metal basis of Völur’s material, Breathless Spirit leans more classical, a change that highlights the incredible range of the music, passing also through doom metal, black metal, folk, jazz, and drone along the way—and all of it done with “just” a violinist, bassist, and drummer (Justin Ruppel). What’s extra interesting (on an already very interesting record) is that Cares contributes piano, synthesizers, theremin, and textures. His production adds layer upon layer of grimy, modern darkness that contributes heavily to the metal feel of Breathless Spirit. It is, put simply, extremely experimental. It also works magnificently.

From the classically-inspired2 “Hearth,” Breathless Spirit’s instrumental intro whose motifs just keep reappearing, to the towering doom metal conclusion of “Death in Solitude,” Völur are as engaging as they are unpredictable. I mentioned that “Windbourne Sorcery II” has the album’s blackened highlight, with Bates’s utterly unhinged shrieks atop a steady alarm of urgency from her violin. That same song has an almost funeral buildup, a chilling passage I compare favorably with Bell Witch’s Mirror Reaper3. The title track is the highlight for me; Gadke’s roars are front and center, and all of his vocals have depth and command to them, recalling Barren Earth’s On Lonely Towers.4 Guest vocals from Amy Bowles (ex-Hollow Earth) are a fantastic counter to his baritone cleans, and the brief improvizations a third of the way in is chaotic and delightful. You can dance to the haunting middle section, but it ends on a sense of heavy, epic urgency. Whatever style they try, Völur & Cares can’t help but create something beautiful. Much credit also belongs to Ruppel, whose measured drumming keeps Breathless Spirit grounded in a steady, doom-laden theme that serves it well.

I’ve run out of words, but there’s so much more to say. Breathless Spirit is a hard album to describe with any level of brevity. It explores worlds I’ve only hinted at here, and is much stronger than the sum of its parts. It’s not perfect—”On Drangey” is perhaps a touch too long for my preferences—but it hardly has to be. Breathless Spirit should enshrine Völur and Cares as experts in the experimental. Equal parts beautiful, haunting, and dark, Breathless Spirit defies my vocabulary—you simply must listen for yourself.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 192 kbps mp3
Label: Blackthrone Productions
Websites: volur.bandcamp.com | facebook.com/VolurDoom
Releases Worldwide: August 8th, 2025

#2025 #40 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #FolkMetal #HollowEarth #Jazz #KingGoat #Review #Reviews #Volur #VölurCares

Völur & Cares – Breathless Spirit Review

By Twelve

“Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore—whose influence aims to transcend an already-impressive trio to Valhallan heights. However do they fare?

But first, a correction: in reviewing Death Cult, I noted that “the guitars do not dominate, nor do they crush the listener; instead, they unsettle, distort, and act as anchor for the vocals and electric violins that make up the true meat of the music.” Völur has no guitarist—only Lucas Gadke (Blood Ceremony), who plays bass (in addition to vocals and piano). The electric violins are indeed the “true meat of the music;” Völur create their uniquely haunting sound through intense distortion on Laura Bates’s violin and viola,1 giving them a surprisingly heavy metal basis to work with—certainly I’d never have thought there’s no guitar in the blackened doom mania that is “Windbourne Sorcery II,” and I’m still not 100% sure I believe it. Previously, I compared the group to a gloomy “Apocapyse Orchestra meets King Goat” project, but, in hindsight, Apocalyptica might have been a better base point to use.

Realistically, though, none of that matters because Völur is unique in too many ways to build adequate comparisons, and Cares has only strengthened that position. Where Death Cult emphasized the heavier, doom metal basis of Völur’s material, Breathless Spirit leans more classical, a change that highlights the incredible range of the music, passing also through doom metal, black metal, folk, jazz, and drone along the way—and all of it done with “just” a violinist, bassist, and drummer (Justin Ruppel). What’s extra interesting (on an already very interesting record) is that Cares contributes piano, synthesizers, theremin, and textures. His production adds layer upon layer of grimy, modern darkness that contributes heavily to the metal feel of Breathless Spirit. It is, put simply, extremely experimental. It also works magnificently.

From the classically-inspired2 “Hearth,” Breathless Spirit’s instrumental intro whose motifs just keep reappearing, to the towering doom metal conclusion of “Death in Solitude,” Völur are as engaging as they are unpredictable. I mentioned that “Windbourne Sorcery II” has the album’s blackened highlight, with Bates’s utterly unhinged shrieks atop a steady alarm of urgency from her violin. That same song has an almost funeral buildup, a chilling passage I compare favorably with Bell Witch’s Mirror Reaper3. The title track is the highlight for me; Gadke’s roars are front and center, and all of his vocals have depth and command to them, recalling Barren Earth’s On Lonely Towers.4 Guest vocals from Amy Bowles (ex-Hollow Earth) are a fantastic counter to his baritone cleans, and the brief improvizations a third of the way in is chaotic and delightful. You can dance to the haunting middle section, but it ends on a sense of heavy, epic urgency. Whatever style they try, Völur & Cares can’t help but create something beautiful. Much credit also belongs to Ruppel, whose measured drumming keeps Breathless Spirit grounded in a steady, doom-laden theme that serves it well.

I’ve run out of words, but there’s so much more to say. Breathless Spirit is a hard album to describe with any level of brevity. It explores worlds I’ve only hinted at here, and is much stronger than the sum of its parts. It’s not perfect—”On Drangey” is perhaps a touch too long for my preferences—but it hardly has to be. Breathless Spirit should enshrine Völur and Cares as experts in the experimental. Equal parts beautiful, haunting, and dark, Breathless Spirit defies my vocabulary—you simply must listen for yourself.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 192 kbps mp3
Label: Blackthrone Productions
Websites: volur.bandcamp.com | facebook.com/VolurDoom
Releases Worldwide: August 8th, 2025

#2025 #40 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #FolkMetal #HollowEarth #Jazz #KingGoat #Review #Reviews #Volur #VölurCares

Völur & Cares – Breathless Spirit Review

By Twelve

“Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore—whose influence aims to transcend an already-impressive trio to Valhallan heights. However do they fare?

But first, a correction: in reviewing Death Cult, I noted that “the guitars do not dominate, nor do they crush the listener; instead, they unsettle, distort, and act as anchor for the vocals and electric violins that make up the true meat of the music.” Völur has no guitarist—only Lucas Gadke (Blood Ceremony), who plays bass (in addition to vocals and piano). The electric violins are indeed the “true meat of the music;” Völur create their uniquely haunting sound through intense distortion on Laura Bates’s violin and viola,1 giving them a surprisingly heavy metal basis to work with—certainly I’d never have thought there’s no guitar in the blackened doom mania that is “Windbourne Sorcery II,” and I’m still not 100% sure I believe it. Previously, I compared the group to a gloomy “Apocapyse Orchestra meets King Goat” project, but, in hindsight, Apocalyptica might have been a better base point to use.

Realistically, though, none of that matters because Völur is unique in too many ways to build adequate comparisons, and Cares has only strengthened that position. Where Death Cult emphasized the heavier, doom metal basis of Völur’s material, Breathless Spirit leans more classical, a change that highlights the incredible range of the music, passing also through doom metal, black metal, folk, jazz, and drone along the way—and all of it done with “just” a violinist, bassist, and drummer (Justin Ruppel). What’s extra interesting (on an already very interesting record) is that Cares contributes piano, synthesizers, theremin, and textures. His production adds layer upon layer of grimy, modern darkness that contributes heavily to the metal feel of Breathless Spirit. It is, put simply, extremely experimental. It also works magnificently.

From the classically-inspired2 “Hearth,” Breathless Spirit’s instrumental intro whose motifs just keep reappearing, to the towering doom metal conclusion of “Death in Solitude,” Völur are as engaging as they are unpredictable. I mentioned that “Windbourne Sorcery II” has the album’s blackened highlight, with Bates’s utterly unhinged shrieks atop a steady alarm of urgency from her violin. That same song has an almost funeral buildup, a chilling passage I compare favorably with Bell Witch’s Mirror Reaper3. The title track is the highlight for me; Gadke’s roars are front and center, and all of his vocals have depth and command to them, recalling Barren Earth’s On Lonely Towers.4 Guest vocals from Amy Bowles (ex-Hollow Earth) are a fantastic counter to his baritone cleans, and the brief improvizations a third of the way in is chaotic and delightful. You can dance to the haunting middle section, but it ends on a sense of heavy, epic urgency. Whatever style they try, Völur & Cares can’t help but create something beautiful. Much credit also belongs to Ruppel, whose measured drumming keeps Breathless Spirit grounded in a steady, doom-laden theme that serves it well.

I’ve run out of words, but there’s so much more to say. Breathless Spirit is a hard album to describe with any level of brevity. It explores worlds I’ve only hinted at here, and is much stronger than the sum of its parts. It’s not perfect—”On Drangey” is perhaps a touch too long for my preferences—but it hardly has to be. Breathless Spirit should enshrine Völur and Cares as experts in the experimental. Equal parts beautiful, haunting, and dark, Breathless Spirit defies my vocabulary—you simply must listen for yourself.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 192 kbps mp3
Label: Blackthrone Productions
Websites: volur.bandcamp.com | facebook.com/VolurDoom
Releases Worldwide: August 8th, 2025

#2025 #40 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #FolkMetal #HollowEarth #Jazz #KingGoat #Review #Reviews #Volur #VölurCares

Völur & Cares – Breathless Spirit Review

By Twelve

“Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore—whose influence aims to transcend an already-impressive trio to Valhallan heights. However do they fare?

But first, a correction: in reviewing Death Cult, I noted that “the guitars do not dominate, nor do they crush the listener; instead, they unsettle, distort, and act as anchor for the vocals and electric violins that make up the true meat of the music.” Völur has no guitarist—only Lucas Gadke (Blood Ceremony), who plays bass (in addition to vocals and piano). The electric violins are indeed the “true meat of the music;” Völur create their uniquely haunting sound through intense distortion on Laura Bates’s violin and viola,1 giving them a surprisingly heavy metal basis to work with—certainly I’d never have thought there’s no guitar in the blackened doom mania that is “Windbourne Sorcery II,” and I’m still not 100% sure I believe it. Previously, I compared the group to a gloomy “Apocapyse Orchestra meets King Goat” project, but, in hindsight, Apocalyptica might have been a better base point to use.

Realistically, though, none of that matters because Völur is unique in too many ways to build adequate comparisons, and Cares has only strengthened that position. Where Death Cult emphasized the heavier, doom metal basis of Völur’s material, Breathless Spirit leans more classical, a change that highlights the incredible range of the music, passing also through doom metal, black metal, folk, jazz, and drone along the way—and all of it done with “just” a violinist, bassist, and drummer (Justin Ruppel). What’s extra interesting (on an already very interesting record) is that Cares contributes piano, synthesizers, theremin, and textures. His production adds layer upon layer of grimy, modern darkness that contributes heavily to the metal feel of Breathless Spirit. It is, put simply, extremely experimental. It also works magnificently.

From the classically-inspired2 “Hearth,” Breathless Spirit’s instrumental intro whose motifs just keep reappearing, to the towering doom metal conclusion of “Death in Solitude,” Völur are as engaging as they are unpredictable. I mentioned that “Windbourne Sorcery II” has the album’s blackened highlight, with Bates’s utterly unhinged shrieks atop a steady alarm of urgency from her violin. That same song has an almost funeral buildup, a chilling passage I compare favorably with Bell Witch’s Mirror Reaper3. The title track is the highlight for me; Gadke’s roars are front and center, and all of his vocals have depth and command to them, recalling Barren Earth’s On Lonely Towers.4 Guest vocals from Amy Bowles (ex-Hollow Earth) are a fantastic counter to his baritone cleans, and the brief improvizations a third of the way in is chaotic and delightful. You can dance to the haunting middle section, but it ends on a sense of heavy, epic urgency. Whatever style they try, Völur & Cares can’t help but create something beautiful. Much credit also belongs to Ruppel, whose measured drumming keeps Breathless Spirit grounded in a steady, doom-laden theme that serves it well.

I’ve run out of words, but there’s so much more to say. Breathless Spirit is a hard album to describe with any level of brevity. It explores worlds I’ve only hinted at here, and is much stronger than the sum of its parts. It’s not perfect—”On Drangey” is perhaps a touch too long for my preferences—but it hardly has to be. Breathless Spirit should enshrine Völur and Cares as experts in the experimental. Equal parts beautiful, haunting, and dark, Breathless Spirit defies my vocabulary—you simply must listen for yourself.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 192 kbps mp3
Label: Blackthrone Productions
Websites: volur.bandcamp.com | facebook.com/VolurDoom
Releases Worldwide: August 8th, 2025

#2025 #40 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #FolkMetal #HollowEarth #Jazz #KingGoat #Review #Reviews #Volur #VölurCares

Apocalypse Orchestra – A Plague upon Thee Review

By Twelve

I love Apocalypse Orchestra. When I first came across the Swedish group in late 2017 via their debut, The End is Nigh, our connection was instant—doom metal and folk metal fused together under a medieval lens, boasting lyrics that suggested a genuine effort for historical accuracy. The End is Nigh still makes the strongest claim of any album I’ve heard for the tag of “medieval metal,” and is one of my favorite doom metal albums. I’ve waited patiently for nearly eight years, and, finally, Apocalypse Orchestra are releasing their sophomore full-length, A Plague upon Thee, in which they continue their carefully treaded way down the dismal course of medieval European history.

If you’re not familiar with Apocalypse Orchestra, here’s a crash course on their sound. Jonas Lindh (Guitars), Andreas Skoglund (drums), and Rikard Jansson (bass) play mid-paced, somewhat progressive doom meta, similar to King Goat; strong riffs, great ebb and flow, and active play. Then, Mikael Lindström gets involved, adding hurdy gurdy, bagpipes, and mandola, both in lead and supporting capacities, and as primary drivers of melody. The folk instruments add a rustic filter, which is complemented by Erik Larsson (more guitars, more mandola, lute, cittern, vocals), whose singing style is something I can’t quite put into words—his baritone fits the “medieval” theme of A Plague upon Thee with unique grace. His growls are very strong, but used sparsely. All five band members also contribute backing vocals, to phenomenal effect, giving the album an epic undertone. Of course, there’s no keyboard;1 anywhere one could conceivably be used, the choir shows up instead. Put all of this together, and Apocalypse Orchestra have claim to a unique sound, one they’ve clearly been honing for years.

With so many instruments and so much history to work from, A Plague upon Thee does not lack for ideas. “Glass and Sun” tackles religious dominance in the era, letting the bagpipes lead in a stunning display to mirror the worship common from the time. “Tempest” takes its inspiration from Revelations; it is the darkest song on the album and one of its best. Never has a hurdy-gurdy—or Larsson, for that matter—sounded so commanding. This is one of few songs that make use of his cruel growls in a thematically welcome turn, and also one of the few to feature a guitar solo. “Anchorhold” is a mid-paced folk-doom march with a huge chorus that tells the story of a dispirited anchorite. The mournful hurdy-gurdy leads echo their frustration and despair, supported by huge riffs crashing through with modern rage. Apocalypse Orchestra also excel in smaller, subtler moments; the choral melody in “Virago” is so quiet but so effective; similarly, the mandolin in “From the Athanor” is easy to miss, but the verses would be notably different without it. At every turn—musically, lyrically, and thematically—there is careful thought and clear intent throughout A Plague upon Thee.

For all that Apocalypse Orchestra does differently than most bands, there are still hallmarks of doom metal alongside their creativity. With the exception of “To Arrive” (a powerful interlude), every song falls between seven and nine minutes long, giving the eight-song album a runtime of just under an hour. As mentioned earlier, Apocalypse Orchestra, and especially Mikael Lindström, know how to keep things interesting, but if there is one critique I can make for A Plague upon Thee, it is that there is a clear formula at work. The band excels with huge choruses, supported by choral vocals; each song has a distinct lead from the hurdy-gurdy or bagpipes; and each song is roughly the same length with a similar design. This is not to say that every song sounds the same—not even close—but most of the excitement happens within a similar formula. More variety in the formula itself might endear A Plague upon Thee to a wider audience because the music itself is nothing short of great.

To some extent, the “medieval metal” tag has always been vague—what constitutes medieval influence anyway? But what Apocalypse Orchestra is doing is a clear attempt at genuine authenticity in colliding these two opposing worlds. In this sense, A Plague upon Thee is a triumph. It effortlessly blends folk music, medieval instruments, and modern metal into a captivating whole. I do hope to hear more before another eight years pass—but this will keep me happy if they do.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Despotz Records
Websites: apocalypseorchestra.bandcamp.com | facebook.com/apocalypseorchestra
Releases Worldwide: February 14th, 2025

#2025 #40 #APlagueUponThee #ApocalypseOrchestra #DespotzRecords #DoomMetal #Feb25 #FolkMetal #KingGoat #MedievalMetal #Review #Reviews #SwedishMetal

Apocalypse Orchestra – A Plague upon Thee Review

By Twelve

I love Apocalypse Orchestra. When I first came across the Swedish group in late 2017 via their debut, The End is Nigh, our connection was instant—doom metal and folk metal fused together under a medieval lens, boasting lyrics that suggested a genuine effort for historical accuracy. The End is Nigh still makes the strongest claim of any album I’ve heard for the tag of “medieval metal,” and is one of my favorite doom metal albums. I’ve waited patiently for nearly eight years, and, finally, Apocalypse Orchestra are releasing their sophomore full-length, A Plague upon Thee, in which they continue their carefully treaded way down the dismal course of medieval European history.

If you’re not familiar with Apocalypse Orchestra, here’s a crash course on their sound. Jonas Lindh (Guitars), Andreas Skoglund (drums), and Rikard Jansson (bass) play mid-paced, somewhat progressive doom meta, similar to King Goat; strong riffs, great ebb and flow, and active play. Then, Mikael Lindström gets involved, adding hurdy gurdy, bagpipes, and mandola, both in lead and supporting capacities, and as primary drivers of melody. The folk instruments add a rustic filter, which is complemented by Erik Larsson (more guitars, more mandola, lute, cittern, vocals), whose singing style is something I can’t quite put into words—his baritone fits the “medieval” theme of A Plague upon Thee with unique grace. His growls are very strong, but used sparsely. All five band members also contribute backing vocals, to phenomenal effect, giving the album an epic undertone. Of course, there’s no keyboard;1 anywhere one could conceivably be used, the choir shows up instead. Put all of this together, and Apocalypse Orchestra have claim to a unique sound, one they’ve clearly been honing for years.

With so many instruments and so much history to work from, A Plague upon Thee does not lack for ideas. “Glass and Sun” tackles religious dominance in the era, letting the bagpipes lead in a stunning display to mirror the worship common from the time. “Tempest” takes its inspiration from Revelations; it is the darkest song on the album and one of its best. Never has a hurdy-gurdy—or Larsson, for that matter—sounded so commanding. This is one of few songs that make use of his cruel growls in a thematically welcome turn, and also one of the few to feature a guitar solo. “Anchorhold” is a mid-paced folk-doom march with a huge chorus that tells the story of a dispirited anchorite. The mournful hurdy-gurdy leads echo their frustration and despair, supported by huge riffs crashing through with modern rage. Apocalypse Orchestra also excel in smaller, subtler moments; the choral melody in “Virago” is so quiet but so effective; similarly, the mandolin in “From the Athanor” is easy to miss, but the verses would be notably different without it. At every turn—musically, lyrically, and thematically—there is careful thought and clear intent throughout A Plague upon Thee.

For all that Apocalypse Orchestra does differently than most bands, there are still hallmarks of doom metal alongside their creativity. With the exception of “To Arrive” (a powerful interlude), every song falls between seven and nine minutes long, giving the eight-song album a runtime of just under an hour. As mentioned earlier, Apocalypse Orchestra, and especially Mikael Lindström, know how to keep things interesting, but if there is one critique I can make for A Plague upon Thee, it is that there is a clear formula at work. The band excels with huge choruses, supported by choral vocals; each song has a distinct lead from the hurdy-gurdy or bagpipes; and each song is roughly the same length with a similar design. This is not to say that every song sounds the same—not even close—but most of the excitement happens within a similar formula. More variety in the formula itself might endear A Plague upon Thee to a wider audience because the music itself is nothing short of great.

To some extent, the “medieval metal” tag has always been vague—what constitutes medieval influence anyway? But what Apocalypse Orchestra is doing is a clear attempt at genuine authenticity in colliding these two opposing worlds. In this sense, A Plague upon Thee is a triumph. It effortlessly blends folk music, medieval instruments, and modern metal into a captivating whole. I do hope to hear more before another eight years pass—but this will keep me happy if they do.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Despotz Records
Websites: apocalypseorchestra.bandcamp.com | facebook.com/apocalypseorchestra
Releases Worldwide: February 14th, 2025

#2025 #40 #APlagueUponThee #ApocalypseOrchestra #DespotzRecords #DoomMetal #Feb25 #FolkMetal #KingGoat #MedievalMetal #Review #Reviews #SwedishMetal

Apocalypse Orchestra – A Plague upon Thee Review

By Twelve

I love Apocalypse Orchestra. When I first came across the Swedish group in late 2017 via their debut, The End is Nigh, our connection was instant—doom metal and folk metal fused together under a medieval lens, boasting lyrics that suggested a genuine effort for historical accuracy. The End is Nigh still makes the strongest claim of any album I’ve heard for the tag of “medieval metal,” and is one of my favorite doom metal albums. I’ve waited patiently for nearly eight years, and, finally, Apocalypse Orchestra are releasing their sophomore full-length, A Plague upon Thee, in which they continue their carefully treaded way down the dismal course of medieval European history.

If you’re not familiar with Apocalypse Orchestra, here’s a crash course on their sound. Jonas Lindh (Guitars), Andreas Skoglund (drums), and Rikard Jansson (bass) play mid-paced, somewhat progressive doom meta, similar to King Goat; strong riffs, great ebb and flow, and active play. Then, Mikael Lindström gets involved, adding hurdy gurdy, bagpipes, and mandola, both in lead and supporting capacities, and as primary drivers of melody. The folk instruments add a rustic filter, which is complemented by Erik Larsson (more guitars, more mandola, lute, cittern, vocals), whose singing style is something I can’t quite put into words—his baritone fits the “medieval” theme of A Plague upon Thee with unique grace. His growls are very strong, but used sparsely. All five band members also contribute backing vocals, to phenomenal effect, giving the album an epic undertone. Of course, there’s no keyboard;1 anywhere one could conceivably be used, the choir shows up instead. Put all of this together, and Apocalypse Orchestra have claim to a unique sound, one they’ve clearly been honing for years.

With so many instruments and so much history to work from, A Plague upon Thee does not lack for ideas. “Glass and Sun” tackles religious dominance in the era, letting the bagpipes lead in a stunning display to mirror the worship common from the time. “Tempest” takes its inspiration from Revelations; it is the darkest song on the album and one of its best. Never has a hurdy-gurdy—or Larsson, for that matter—sounded so commanding. This is one of few songs that make use of his cruel growls in a thematically welcome turn, and also one of the few to feature a guitar solo. “Anchorhold” is a mid-paced folk-doom march with a huge chorus that tells the story of a dispirited anchorite. The mournful hurdy-gurdy leads echo their frustration and despair, supported by huge riffs crashing through with modern rage. Apocalypse Orchestra also excel in smaller, subtler moments; the choral melody in “Virago” is so quiet but so effective; similarly, the mandolin in “From the Athanor” is easy to miss, but the verses would be notably different without it. At every turn—musically, lyrically, and thematically—there is careful thought and clear intent throughout A Plague upon Thee.

For all that Apocalypse Orchestra does differently than most bands, there are still hallmarks of doom metal alongside their creativity. With the exception of “To Arrive” (a powerful interlude), every song falls between seven and nine minutes long, giving the eight-song album a runtime of just under an hour. As mentioned earlier, Apocalypse Orchestra, and especially Mikael Lindström, know how to keep things interesting, but if there is one critique I can make for A Plague upon Thee, it is that there is a clear formula at work. The band excels with huge choruses, supported by choral vocals; each song has a distinct lead from the hurdy-gurdy or bagpipes; and each song is roughly the same length with a similar design. This is not to say that every song sounds the same—not even close—but most of the excitement happens within a similar formula. More variety in the formula itself might endear A Plague upon Thee to a wider audience because the music itself is nothing short of great.

To some extent, the “medieval metal” tag has always been vague—what constitutes medieval influence anyway? But what Apocalypse Orchestra is doing is a clear attempt at genuine authenticity in colliding these two opposing worlds. In this sense, A Plague upon Thee is a triumph. It effortlessly blends folk music, medieval instruments, and modern metal into a captivating whole. I do hope to hear more before another eight years pass—but this will keep me happy if they do.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Despotz Records
Websites: apocalypseorchestra.bandcamp.com | facebook.com/apocalypseorchestra
Releases Worldwide: February 14th, 2025

#2025 #40 #APlagueUponThee #ApocalypseOrchestra #DespotzRecords #DoomMetal #Feb25 #FolkMetal #KingGoat #MedievalMetal #Review #Reviews #SwedishMetal

Apocalypse Orchestra – A Plague upon Thee Review

By Twelve

I love Apocalypse Orchestra. When I first came across the Swedish group in late 2017 via their debut, The End is Nigh, our connection was instant—doom metal and folk metal fused together under a medieval lens, boasting lyrics that suggested a genuine effort for historical accuracy. The End is Nigh still makes the strongest claim of any album I’ve heard for the tag of “medieval metal,” and is one of my favorite doom metal albums. I’ve waited patiently for nearly eight years, and, finally, Apocalypse Orchestra are releasing their sophomore full-length, A Plague upon Thee, in which they continue their carefully treaded way down the dismal course of medieval European history.

If you’re not familiar with Apocalypse Orchestra, here’s a crash course on their sound. Jonas Lindh (Guitars), Andreas Skoglund (drums), and Rikard Jansson (bass) play mid-paced, somewhat progressive doom meta, similar to King Goat; strong riffs, great ebb and flow, and active play. Then, Mikael Lindström gets involved, adding hurdy gurdy, bagpipes, and mandola, both in lead and supporting capacities, and as primary drivers of melody. The folk instruments add a rustic filter, which is complemented by Erik Larsson (more guitars, more mandola, lute, cittern, vocals), whose singing style is something I can’t quite put into words—his baritone fits the “medieval” theme of A Plague upon Thee with unique grace. His growls are very strong, but used sparsely. All five band members also contribute backing vocals, to phenomenal effect, giving the album an epic undertone. Of course, there’s no keyboard;1 anywhere one could conceivably be used, the choir shows up instead. Put all of this together, and Apocalypse Orchestra have claim to a unique sound, one they’ve clearly been honing for years.

With so many instruments and so much history to work from, A Plague upon Thee does not lack for ideas. “Glass and Sun” tackles religious dominance in the era, letting the bagpipes lead in a stunning display to mirror the worship common from the time. “Tempest” takes its inspiration from Revelations; it is the darkest song on the album and one of its best. Never has a hurdy-gurdy—or Larsson, for that matter—sounded so commanding. This is one of few songs that make use of his cruel growls in a thematically welcome turn, and also one of the few to feature a guitar solo. “Anchorhold” is a mid-paced folk-doom march with a huge chorus that tells the story of a dispirited anchorite. The mournful hurdy-gurdy leads echo their frustration and despair, supported by huge riffs crashing through with modern rage. Apocalypse Orchestra also excel in smaller, subtler moments; the choral melody in “Virago” is so quiet but so effective; similarly, the mandolin in “From the Athanor” is easy to miss, but the verses would be notably different without it. At every turn—musically, lyrically, and thematically—there is careful thought and clear intent throughout A Plague upon Thee.

For all that Apocalypse Orchestra does differently than most bands, there are still hallmarks of doom metal alongside their creativity. With the exception of “To Arrive” (a powerful interlude), every song falls between seven and nine minutes long, giving the eight-song album a runtime of just under an hour. As mentioned earlier, Apocalypse Orchestra, and especially Mikael Lindström, know how to keep things interesting, but if there is one critique I can make for A Plague upon Thee, it is that there is a clear formula at work. The band excels with huge choruses, supported by choral vocals; each song has a distinct lead from the hurdy-gurdy or bagpipes; and each song is roughly the same length with a similar design. This is not to say that every song sounds the same—not even close—but most of the excitement happens within a similar formula. More variety in the formula itself might endear A Plague upon Thee to a wider audience because the music itself is nothing short of great.

To some extent, the “medieval metal” tag has always been vague—what constitutes medieval influence anyway? But what Apocalypse Orchestra is doing is a clear attempt at genuine authenticity in colliding these two opposing worlds. In this sense, A Plague upon Thee is a triumph. It effortlessly blends folk music, medieval instruments, and modern metal into a captivating whole. I do hope to hear more before another eight years pass—but this will keep me happy if they do.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Despotz Records
Websites: apocalypseorchestra.bandcamp.com | facebook.com/apocalypseorchestra
Releases Worldwide: February 14th, 2025

#2025 #40 #APlagueUponThee #ApocalypseOrchestra #DespotzRecords #DoomMetal #Feb25 #FolkMetal #KingGoat #MedievalMetal #Review #Reviews #SwedishMetal