#wintersun — Public Fediverse posts

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

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

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 The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out.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

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

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

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

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

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

Ounas II by Suotana

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

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

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

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

Saturday the 21st is #WinterSolstice - the shortest day of the year. The #Sun is up about 5 hours here in South #Finland. In the #North it doesn't rise at all. For weeks.

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

But today it's not a Black Winter Day https://www.youtube.com/watch?v=FxG5pjI8wLk#ddg-play

Today we have some #Wintersun https://www.youtube.com/watch?v=BM6CqGE8TWQ#ddg-play

#MetalMusic #metal #music #FinnishMetal #metalli #Amorphis #VanhaPorvoo #OldPorvoo #Porvoo #Borgå #GamlaBorgå #Suomi #Finnland #Finlande #Finlandia #kaamos #darkness #PolarNight