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  • "There are some bands that have a feel of “going through the motions” when releasing new albums, either relying on successes of previous efforts or generally uninspired by the process. Then there are bands that put every bit of energy, heart, and soul into each and every album driven by a desire to create stronger material, never lazing under the notion that albums “can’t get any better than ‘x’ release.”Ever since 2003, Swiss folk metal act Eluveitie has been captivating with every release, as if the word “monumental” was ingrained in the band's genes. It’s not simply because of its Celtic roots, or the combination of melody with that splash of extreme, or the use of what seems like hundreds of instruments (most of which you can't pronounce), but also the amount of blood that runs through the songs like veins inside each album. There is energy with every album that transcends the boundaries of just being music….it’s a blanket that warms, a beer that satiates, a lover that satisfies, a book that creates worlds, and music that emotes. “Origins” might just be the best album in the band’s history and clearly is a top contender for 2014.Eluveitie also has the distinction of being one of the few groups that has the ability to inspire fans to delve deeper into the historical content of each release, especially after witnessing a live performance. It’s one thing to live in the comfort of a well-produced album with the ability to perfect the sound, but once you see this band in a live setting – meticulously re-creating the sound of the recorded masterpiece note for note, instrument for instrument with deadly precision – the true beauty shines through. Only by visualizing this culmination of what must be a motherload of practice and effort that has led to perfect timing and execution will you then have complete appreciation for how much this band gives a shit about its craft. Calling it extraordinary seems so ordinary.“Origins” expounds upon the formula blazed in “Helveitos,” but harkens a bit back to the days of “Slania,” with much higher production values. I was a bit perplexed by a backlash from some critics of “Helveitos” who cited a rather startling “lack of originality,” so it wouldn’t be a shock to see “Origins” met with similar caterwauling. More astounding is trying to comprehend exactly what the expectation level is given the history of Eluveitie since “Evocation” was released in 2008. With “Origins” you can brace yourself for much greater Celtic “origins,” more bagpipes and flutes, and more participation from Anna Murphy, who has now become just as indispensable as Chrigel.There is plenty of “Slania” here to keep the “trve fans” satisfied – check out “Inception,” “King,” “Carry the Torch,” or “The Silver Sister.” For those that also love intricate and pulse generating Celtic melodies with more flutes, tin whistles, and Gaitas than you will ever find at a Riverdance show, all reinforced by Chrigel’s death grows and interlaced with Anna Murphy’s astounding voice – look no further than tracks like “Celtos,” “From Darkness,” “The Nameless,” “Sucellos” and what sounds like the sequel to “A Rose for Epona” – “The Call of the Mountains.” The only chink in the otherwise perfect armor is the swiftness that this album passes, even though it clocks in at 52 minutes, not including intros (58 with). I suddenly wished for an hour and a half, knowing it will probably be too long.In the end, Eluvetie raised it's stock higher, carving a greater niche and ascending a crowded folk metal scene. In what will surely be a fiddle fight death match with bands like Elvenking and Equilibrium, Eluveitie may just be the strongest contender this year, barring no subgenre. “Origins” will astound the faithful as well as garner more critics desiring “something different.” The fact remains….what Eluveitie does is in of itself “something different” and “Origins” may be the best effort yet." - Metal Underground
    $16.00
  • "The honeyed voice of Johanna Kurkela glides over the lush empyrean chords of Kiss The Mountain, the remarkably beautiful halfway point of Auri’s sophomore release Those We Don’t Speak Of. It’s an unusual placement in the running order; other bands might have chosen such a piece to close their album, drifting off like a lullaby. But the genre-defying Auri have fearlessly dismissed convention and marched merrily down the same path they forged a few years ago with their debut album (although the trio played together on Tuomas Holopainen’s 2014 album Music Inspired by the Life and Times of Scrooge, it wasn’t until 2018 that the collaborative Auri arrived in all its shimmering elegance).Sonically untethered from the heavier and more metallic spectacle of Holopainen and Troy Donockley’s flagship band Nightwish, the acclaimed Auri was a refreshing shift in mood and atmosphere. But the trio exhibited many of the hallmarks of a ‘side’ project; something to be kept on the back burner while focusing on keeping their main band afloat. Three years on, Those We Don’t Speak Of arrives as an even greater step forward, a confident follow-up from a band who now feel like a permanent entity. Not to discount the dreamy excellence of that first platter… but wait until you hear this one.The ghostly title track opens the album like a horror film jump-scare. Kurkela’s spectral and hypnotic vocals swirl around the ominous music like creeping mist, becoming increasingly eerie as her violin underscores an otherworldly climax. Her deceptively childlike singing grows ever more sinister towards the song’s chilling conclusion. It’s a brilliantly unorthodox way to open an album, and the first of many effective moods woven throughout. The sunny Pearl Diving, for instance, or the moving, graceful The Valley – both advance singles already familiar to listeners – ultimately carry uplifting vibes and are about as far from the style of the title track as you can get.A new enhancement is the percussive touch of Kai Hahto – occupier of the Nightwish drum stool – who peppers some of these new tracks with his usual tasteful rhythms. The dynamic seven-minute instrumental Light And Flood traverses aural peaks and valleys, accented by Kurkela’s expressive violin. Wordless vocals float above the classical-infused mini-epic as Holopainen’s joyous, fluttering piano notes dance with Donockley’s acoustic guitar and tuneful whistles. I was taken aback at how moved I was by this spectacular and blissful track. It’s like that first time you ever got caught in the pouring rain, but loved every second of it. A glimpse of beauty in its purest form.Another early favourite is the exquisite It Takes Me Places, with its evocative lyrics and compelling instrumental break. Holopainen has long excelled at crafting impactful works quilted with rich melodies amid the heavy verse/chorus arrangements of Nightwish, and in recent years has developed an affinity for cinematic compositions that rival some of the finer Hollywood film scores. But stepping outside of that zone and fusing his ideas with those of Kurkela and Donockley produces an altogether different result while showcasing their merits equally. There’s no leader here, and no star either; just three great musicians feeding off each other’s energy. The chemistry they have is magical, and the resulting music inimitable. Lyrically, too, they all contribute, and some of the more profound lines on the album really hit home. ‘It is The Duty Of Dust‘, sings Kurkela wistfully in the stirring song of the same name, ‘… to remind us of that which must never, ever be forgotten…’Kurkela’s vocals adopt a strong Anneke van Giersbergen flavour in the haunting The Long Walk, another major highlight with a striking atmosphere. And although several of these tracks will raise hairs, the plaintive and majestic Scattered To The Four Winds caused me lingering full-body goosebumps. There’s an enigmatic power to music that can do that, and this song stuck with me for a long time afterwards. I’m tempted to say it’s my absolute favourite track here (and I do think it is), but it’s best not to jump the gun with this many strong pieces.Donockley employs the deepest part of his vocal range in closing track Fireside Bard, with the sweetness of Kurkela’s voice entering like splashes of vibrant colours on a grey canvas. One lyric sums up the essence of the album for me: ‘This music is a naked man marking the world’s milestones with stories, with kisses from the earth herself…’ – a quirky but arresting lyric in an unusual song. As the instruments fade, the band’s voices converge in an acapella chorus, until the sound of a crackling fire is all that remains, leaving us to ponder the previous 50 minutes of resplendence. My word… what an album!Although conflict can produce powerful results, I don’t sense such difficulties or frustration inherent in the creation of this music. It seems to come from a more divine and harmonious place, flowing naturally from these three musicians (or is it through them?) and taking firm root in the hearts and minds of its listeners just as surely as it did in its creators. And I doubt that tap can or will be turned off; with music so naturally imbued with passion, it’s hard to imagine just deciding not to make more. With two albums of such sterling calibre now under their belt, it’s safe to say there will be more – hopefully much more – to come in the rosy, starlit future of Auri. And for those of us who deeply connect with this music, that’s a hope we can all use right about now." - Velvet Thunder
    $12.00
  • This is the heavy cardboard digipak collector's edition with two bonus tracks.  We've been alerted that it is already about to go out of print."Skuggsjá (Norse: ‘mirror’/’reflection’) redefines folk metal or even creates something new that we could rather name ‘metal folk’. It is a project by Wardruna’s Einar Selvik and Enslaved’s Ivar Bjørnson. Originally the piece of the same name was written ‘as a commissioned concert piece for the 200th anniversary of the Norwegian Constitution’ to be performed live by Wardruna and Enslaved but Selvik and Bjørnson decided to record it in order to present it to a broader audience. As a result they’ve come up with this album, which title is very poetic and stimulating one’s imagination, although in a very abstract way. Thereby it is just an overture to what the music holds. Why is Skuggsjá metal folk rather than vice versa? Because it mixes folk and metal music, indeed, but the roles have been reversed here – folk is the foundation and metal is just a flavour. The result is stunning. The traditional instruments and the ambient style of Wardruna create an incredible atmosphere evoking vivid images of the breathtaking Northern landscapes and heathen Norse rituals while at the same time allowing the listener to calm down and have a look inside their own soul. The metal guitars and drums (that are not there constantly) add some colour and edge sometimes making it to the front and turning the music into full on black metal with the help of Grutle Kjellson’s screeching vocals. Clean guitars are also used bringing wonderful Enslaved’s style harmonies that contribute to the beauty of this album and light the atmosphere up a little bit causing a feeling of being in a state of limbo between the dark and mysterious world of the ancient North and the time and place where one is listening to the music. They seem like a ferryman taking you from one side of the river to the other and then back again. The concept behind Skuggsjá is very similar to the one behind Wardruna – it preserves and promotes the Norse heritage of Norway as well as links it to the present. It also celebrates and solidifies the position of heavy music as the most important cultural export of Norway. ‘A Piece For Mind & Mirror’ is pure magic that instantly  bewitches and this spell is probably irreversible." - Folk Metal Magazine
    $15.00
  • "Somewhere in the nether regions of the Alps, a five-piece group known as Wind Rose orchestrated the album entitled “Wintersaga” by using chisels, nature, and skulls of the enemies as they drink from the blood of their victims.  This album deserves consideration for album of the year in the power metal genre.Out of Italy, Wind Rose is composed of the following warriors:  Francesco Cavalieri on vocals, Claudio Falconcini on guitars, Federico Meranda on keyboards, Cristiano Bertocchi on bass, and Federico Gatti on drums.  They combine their love of the middle ages, dwarves, folk, and power metal to create one of the most joyous party albums in the power metal genre.To be honest, I wasn’t sure how to take Wind Rose when I initially watched their video for “Diggy Diggy Hole”, but if you’re into swigging ale out of a goblet while jamming to some power metal, then this band is for you.  This band takes you on an mythical journey with the opening introductory track entitled “Of Iron And Gold”.  This track showcases their prowess as they showcase their orchestral power.  It’s plain to see why this Minecraft anthem got famous!The title track showcases the orchestral prowess of Meranda on keys while Cavalieri seems to showcases classical range in his vocals.  This track sound so epic that it can belong on a Broadway stage or at a metal festival in the same token.  In the chorus, Bertocchi on bass and Gatti on drums really shine in the rhythm section.Then, you get into tales of mythical dwarves drinking in the track “Drunken Dwarves”, which seems to combine middle age folk music with today’s power metal.  The track provides the imagery of gnomes and dwarves swigging ale out of goblets while telling the tales of yesteryear as this song is the anthem of their lives.  Tracks like “Mine Mine Mine” and “The Art Of War” provides imagery that chariots and warriors are charging forward as the warriors drink the blood of their victims out of gem-encrusted goblets.If you like tales that seem to derive from World of Warcraft, the Middle Ages, or mythical dwarves, then Wind Rose takes those tales and turns it up to 11 as they pillage and plunder the power metal scene by storm with “Wintersaga” like the warriors that they are.  Madness To Creation gives this a 9 out of 10 stars." - Madness To Creation 
    $15.00
  • Limited edition digipak with 4 bonus tracks."Everyone who met me, ever, knows I’m a sucker for power metal. So, growing up to tales of fantasy, magical creatures and worlds and cheesy and epic song choruses, and adding the fact that I also find the folk and pagan sides of metal extremely relevant and interesting, Elvenking – especially the ‘Heathenreel’ and ‘Wyrd’ albums – was a no-brainer for me when I wanted some cool tales of paganism and some violins here and there in my dose of the genre.The Italians haven’t strayed too far from the sound of their debut over the years, but there was a clear loss of quality along the way, until they completely obliterated the criticism with the wholesome ‘Pagan Manifesto’ three years ago. Following the same formula – and seeming to have achieved a perfect harmony between the classic and the new – the forest-dwellers go strong again with ‘Secrets of the Magick Grimoire’, their 9th album.Like many of the power/folk acts out there, Elvenking have always used the frivolous atmosphere of the genre to write unpretentious and carefree songs, which can be found here as well. Starting with a bang in “Invoking the Woodland Spirit”, they set the pace right from the first verse of the track, which switches from a folk anthem to fast-paced power hymn during its course.The first half of the album, for that matter, abuses of that formula really well, with songs like the melodic and catchy “Draugen’s Maelstrom” and the fanfare-like “The Horned Ghost and the Sorcerer” – this last one slower in the verses and bridge but epic in the chorus – holding up to the high quality of the effort.The melodic vocal lines of frontman and leader Damna suit perfectly with each song, as he’s able to transition from melodic and lower parts to characteristic high-pitched power metal screams with ease. The backing vocals provided by the whole band, especially guitarist Aydan, and the harsh vocal appearances by Nekrokraft and Witchery vocalist Angus Norder complement Damna’s singing perfectly, especially in songs like “A Grain of Truth”. The legendary Snowy Shaw (Denner/Shermann, Notre Dame, ex-Mercyful Fate, ex-King Diamond, ex-Therion) also provides a really cool vocal performance in “At the Court of the Wild Hunt”; these all help with the album’s proposal of being magical and diversified.As I wrote above, the Italians manage to successfully mix the classic songwriting, full of breakdowns and epic builds, with newer elements – especially in the riffs and drum parts (I suspect that the debuting member Marco Lanciotti, which also currently plays for Hell in the Club and has been a part of DGM for some live shows, has something to do with the latter); this becomes more evident in the second half of the album, as songs like “The Wolves Will Be Howling Your Name” and “Straight Inside Your Winter” are constructed a bit differently.The writing is what you would expect from an Elvenking album, with lots of fairy tales of spells, dark forests, sabbaths and magic books. Not erudite or genius in any way, but well worthy of picking up the booklet and reading the lyrics. The production is also one of the high points of the effort, with the duo Aydan and Damna taking the producer credits and legendary producer and DGM guitarist Simone Mularoni taking the mixing and mastery roles.It seems to me that Elvenking have found their path across the dark forests of creativity once again and consolidated the new musical approach started with ‘The Pagan Manifesto’. Embracing the band’s true essence from the heydays and adding some new layers and arrangements to the arsenal, Damna, Aydan and company have once again managed to make melodic power metal and traditional folk music to coexist. ‘Secrets of the Magick Grimoire’ is not as impactful as its predecessor, but it’s definitely an album worth checking out. Highly recommended." - Metalwani
    $16.00
  • "Artaius is back with an album ‘Torn Banners’, the sequel of their debut-album ‘The Fifth Season’. And in this seventh season of their existence, the band takes off, where they left us two years ago with their debut. ‘Seven Months’ could just as easily have been another track from their first album.We still get this mix of all kind of styles, not only the obvious folk, but the gothic elements and the jazzy/proggy elements, make this an unique blend.The prog-elements have become sufficiently stronger, and this is the only thing I have a bit of a problem with on this album. I’m just an old-fashioned guy, who’s very fond of the traditional stuff. So, the clash of the proggy sound with the quite traditional folk, bother me a bit, but that’s just me.This choice of music is very brave, and with this choice Artaius proves ones more that folk-metal isn’t dead at all. There are still ways to explore, even with their choice of Celtic folk-tunes, there are still unexploited fields and forests of music to explore.Their musical search for unexplored terrain culminates in ‘Pearls of Suffering’, where brutal male vocals, clean female vocals meet. Solid guitars, mixed with flutes, which remind me of the 70′s with the Dutch band Focus. Ultimate proggy key-work, alternated with pieces of raw metal. You simply can’t describe a song like this.‘Torn Banners’ is an album which lies perfectly in line with their debut-album. Without changing their unique brand, Artaius has developed their style and created another very nice album. I think the proggy-keys are a little bit over the top, but I have to admit it gives the music a very unique taste. ‘Torn Banners’ is a very nice album, which deserves your ear, because you should try this twist of folk-metal." - Folkmetal.nl
    $12.00
  • Latest from this Italian band create an intelligent mix of folk and power metal.  Love that violin!  Era is spiced up with some special guests: Jon Oliva, Teemu Matysaari (Wintersun), and Maurizio Cardullo (Folkstone).
    $15.00
  • "ELUVEITIE have always been hit for miss to me.  I really enjoyed about half of both 2008’s “Slania,” and 2014’s “Origins,” but haven’t paid much attention to them otherwise.  After I heard the excellent title track from their newest, and eighth full length, album “Ategnatos,” the band once again peaked my interests.They probably don’t need an introduction but just in case there are any unaware readers: ELUVEITIE play Folk Metal, with a lot of Melodic Death influences.  As far as I’m concerned, their first two albums were basically IN FLAMES with folk instruments.  However, over the course of their career they have really found the balance to their sound.  “Ategnatos,” is the best representation so far of the band’s growth, an album that finds them really dialing down on the Metal side of their sound while also doubling efforts for their Folk half.  They last several members before this album’s recording but they haven’t lost any steps but rather returned with a renewed sense of purpose.As previously stated, “ Ategnatos” is an excellent track and one hell of an opener.  It has a decent tempo and is pretty damn heavy for the band.  As always, lead vocalist Chrigel's Death growls/screams are in top form, full of gusto and searing energy.  New co-vocalist Fabienne appears in the song, mostly as back up vocals but does a fine performance and is a solid addition to the band and gets plenty of time to show off her soaring vocals in later tracks.“Deathwalker,” is one of the band’s best tracks to date, boosted up by a kick ass opening riff and some catchy but intricate folk melodies.   The middle portion of the song is especially hectic, Metal riffs and folk elements battling it out for supremacy but still managing to work in unison. The next track, “Black Water Dawn,” is another career highlight for the band.  This song focuses more on riffs than in the past and even has a kick ass guitar solo.  With this track, they show what they are capable of when they hit their stride. Fabienne's chorus is catchy as hell too and a big part of the song’s appeal.Unfortunately, as with every album of theirs, this one suffers from some passing issues.  Three of the tracks are just interludes that amount to little more than filler.  I’m sure these little tracks mean something to the band but for the listener, they are just clutter.  They do make more sense when listening to the album straight thru but that is another challenge; with sixteen tracks this one is a chore to get all the way thru in one sitting. Even so, the album does manage to contain strong tracks all the way thru.  “Threefold Death,” has the two vocalists both getting a spotlight and the music finds lighter more playful, natural moments among the many Metal riffs; this is a track that shows off the dynamics of the band.“Breathe,” is a showcase for Fabienne's vocal power—she sings her ass off on this one and appears to already be at ease with the band because she displays a lot of confidence. “Rebirth,” contains speedy, brutal guitar work, both with the rhythm and lead.  This song is another that will go down among the band’s best work and if someone asked me what the band was all about, I would definitely let them hear this track. All in all, despite some pacing and a bit of bloat in the track list, this is easily ELUVEITIE’s best album to date." - Metal Temple
    $12.00
  • "For objectivity’s sake I will only be summarizing the general tone of Elvenking’s new album, in addition to the good and the bad. Before I start a bit of background: my first exposure to Elvenking’s music was with one of their very angsty and melodramatically emotional music videos. The band’s sound has felt more like some melodic or symphonic metal that takes an almost emo approach to their lyrics. Vocals are as important to me as the music and can make or break a song or at least strongly influence my opinion. However, I do not dislike their music. In fact, Elvenking was the first band that introduced violin to me in a Metal context and some of their music is more aggressive than most of the Power Metal bands in their region. As for the album itself, I have good news for fans of Elvenking, for the most part the band are sticking to their guns, and have kept their more successful formulas unaltered on most of the album. In spite of that, the first few songs of the album showed some interesting potential. For example, when I heard the song after the opening instrumental I was completely awe-struck. The first three songs take Rhapsody’s virtuosity, Stormwarrior’s intensity, and a strong vocal effort with an energy worthy of Sabaton. It felt uplifting, it felt Powerful – like the genre is supposed to be. Sadly, the rest of the album did not develop this approach any further and with the shift in tone there was also a shift in lyrics.It is with the fourth track, entitled “The Misfortune of Virtue” that the lyrical issues start. The song rails on about Christianity’s hostility against the pagans of early Europe, or at least, probably intends to. Apparently they thought reciting tenets of the Christian faith is enough to provide commentary on it.One other problem with the lyrics (which also extends to the music itself) is the track “Eternal Eleanor”. Like the name suggests, the song is a somewhat cheesy love song and little more than filler. In terms of the lyrics I will simply say the extent of originality here is substituting the word “Vampire” for something overused like “Saccubis” in the context of a love song.While the rest of the album did shift to Elvenking’s more emotionally driven lyrics and obsession with melancholic minor-key melodies there are some interesting developments. Alternative rock influences are apparent in some songs like “Under the Sign of the Black Star”. There is a thrash-worthy breakdown on the closing track “Reader of the Runes” which also veers very heavily towards the folk side of music. Since Reader of the Runes is an Elvenking release, people already know what to expect. There is a wider range of influences than their works I’m familiar with which is a double edged sword in terms of the undeveloped potential that they sacrificed for their usual sound. For an attempt at a serious concept album there is slightly more development of a noticeable overarching story than other Italian groups like Rhapsody and possibly Ancient Bards. Reader of the Runes will be great for fans, decent for teenagers with dyed-fringes, and an okay album otherwise." - folkmetal.nl
    $16.00
  • Interesting band from Switzerland that effectively combines Celtic folk with melodic death metal. The band features a large 8 piece lineup. Instrumentation consists of mandolin, tin whistle, uilleann pipes, hurdy gurdy, flute, whistles, gaita, bagpipes, as well as traditional electric guitars, bass, and drums. Vocals are sung in the extinct Gaulish language (odd in and of itself) and are the expected blend of male growls and female clean singing. Evocation 1 is their second album and the first part of an acoustic themed concept. The album isn't purely acoustic - its not "unplugged" but it definitely has a strong acoustic orientation. The Celtic feel isn't subtle - it clubs you over the head. If you like a strong dose of folk infused in your metal, or if you want to hear something a bit different you need to check these guys (and girls) out. This is the (yes we know its expensive) limited edition European digipak edition that comes with 2 bonus tracks as well as a DVD (PAL - region 0) featuring a live concert performance from the Summer Breeze 2008 festival.
    $14.00
  • Fiaba is a Sicilian band that has been around for nearly 30 years.  I remember (albeit not too well) their debut on Mellow Records eons ago.The band is led by their drummer Bruno Rubino who wrote all the music. This is metallic tinged progressive folk.  I'm not sure I would categorize this as full on folk metal as many reviews have - not in the same way as we think of Elvenking or Falconer.  At times they turn it up a notch but I would defiinitely categorize this more so within the prog rock realm.Vocalist Giuseppe Brancato channels his inner Franceso Di Giaccomo.  The drama of his operatic vocals complements the music quite well."The discographic return of FIABA is always a very special event.26 years after their debut with the amazing “XII L’Appiccato” and 8 years after their latest album “La pelle nella luna” finally arrives a new album by the Syracusan cult band truly unique for its sound, folk-metal-prog crossroads, that some have tried to define “fairies metal” or “elfic metal” with progressive attitudes. However the Fiaba are not categorized within a genre or a specific definition because the expressive center is in an indefinable elsewhere, another world that feeds the visions of a storyteller jester.“Di gatti di rane di folletti e d’altre storie” is an enchanted world in which each song is a story, or rather a fairy tale whose protagonists are often confused between losers and winners, between loves and disillusions.The extraordinary fable source, the drums and acoustic guitars of Bruno Rubino and the great vocal expressiveness (and theatricality) of Giuseppe Brancato are the unmistakable traits, perfectly supported by Massimo Catena (guitar), Davide Santo (bass), Graziano Manuele (guitar ).The rest is always and again the magic of Fiaba !!!“To hear that the future of rock is contamination makes me laugh, FIABA have been doing this since 1994, from their first album” XII L’Appiccato “FIABA are the greatest medieval rock band in the world “(Gianni Della Cioppa)“FIABA are a spell, musicians with a powerful sharp sound, once again mysteriously subjugated by dark forces, to celebrate a new imaginative album, with tales handed down from the mists of time” (Mauro Furlan – Classix)"
    $16.00
  • "ELVENKING is an Italian sextet formed in 1997. They are a fusion of Folk, Power, Progressive, and Symphonic Metals, using a variety of styles to support some epic storytelling guaranteed to engage your mind as well as hook your ears. Reader Of The Runes – Rapture, is their 11th studio album and one of their most ambitious to date. It will be released on April 28, 2023, via AFM Records. The album starts slowly with a nice intro that builds from an acoustic sound to a heavy, electric sound over a full minute, taking the time to ebb and flow in a glorious tide that washes over you with waves of beautiful sound. “Rapture” is an appropriate title for this track as it inspires wonderment and creates a mood that will repeat throughout this journey.The dual guitar attack is right up front and in your face in “The Hanging Tree.” The lead guitar work woven into the riff is excellent, drawing your ear often, holding it tightly as you just lose yourself in the dueling tones and phrases. The bass and drums seem to cavort in this song, not just set a tempo. The patterns are playful and dynamic, making the guitars work to maintain to hold your attention. That is an incredible thing to have happen! “Herdchant” is a heavier song while also being more melodic. The tone and phrasing is dark and alluring while staying well within the folksy theme of the album. The violin gives the entire album a Folk Metal feel, keeping the disc grounded in the bands roots but still allowing the guitars to drive hard in the Power Metal realm.“Covenant” goes for a more melodic sound in some ways, though the distorted vocals and chants under the lead voice give the song a heavy tone that somewhat offsets the melodic texture. The sheer variety of vocal offerings throughout this record are impressive. Soaring wails, fry vocals, grit and distortion, choirs, this record has it all. Slowing things down, ELVENKING bestows “Red Mist” on us, opening it with a slow, melodic tempo before it builds to the Heavy Metal we love. There are shifts in this song that are very well executed, showing the skill of the musicianship. The complexity of this song makes it one of my favorites on the record even though the whole album is really good. Something about it just hooks me, making me come back to this track over and over.It seems like “Incantations” is part Power Ballad, part Power Metal, almost like they wanted to keep us on our toes, wondering where the song is going to go next and how it will end. There is no true Power Ballad on this disc, and that is okay. There are elements of that, and I’m happy with how it works. The album concludes with “The Repentant,” another song that wavers between melodic and heavy, going back and forth repeatedly, taking us on a journey through the entire spectrum of the ELVENKING sound. Having just crossed the quarter century mark for length of career, they have fully realized their sound. They know what they want to do and how they want to do it. They execute beautifully, giving us a killer album that pleases the ears on so many levels." - Metal Temple
    $16.00
  • Its been 17 years since the last release from this very interesting Norwegian band.  They incorporate female vocals sung in Norwegian.  Music fuses folk with metal and old school prog.  [Plenty of Mellotron sounds]  Clever stuff that can take you places."It must have been 20 years ago when I first discovered Lumsk's debut album. I was immediately addicted to their unique style of progressive folk-rock/metal, heavily influenced by Norwegian tales and poems. With 2005's Troll, the band managed to improve on their amazing debut by further streamlining their songs and allowing themselves to not shy away from more passionate and vulnerable sections. Hopes were high for 2007's album, but it seemed like the band took their progression a bit too far. The album consisted mostly of poppy ballads, with the odd folky prog-rock song in between. After years of silence, it seemed this was the end for this band?You can imagine my surprise when they announced a new album, almost 16 years later. With some changes in their line-up and a very long time to work on the new material, I was curious about the direction the band would evolve. Are we getting another ballad-ridden, mediocre album, or will they return to their roots? Both of these guesses turned out to be wrong!Before completely breaking down the album, it must be said this one needs a bit of explanation. Like the other Lumsk albums, this is a concept album. The songs are based on 6 poems by André Bjerke, who took inspiration from Goethe, Nietzsche, and Swinburne. Each poem is transformed into a song in Norwegian in the first half of the album and an English or German version in the second half. Luckily, this doesn't mean the songs are the same at all, though! There is a clear thread that connects each of the pairs of songs, without them ever feeling like a copy of one other. The best way to think of it is as a reflection or mirror image of the same concept (As the beautiful cover art also suggests).The gentle piano accompanied by hauntingly beautiful vocals of Det døde barn (The dead child) starts our journey. When the drums and acoustic guitars kick in, you will immediately notice this album is far more progressive than any of Lumsk's previous works. Halfway through the song, the first distortion can be heard. What a relief to hear this heavier side of the band, mostly absent from the previous release. If this opening track didn't at least pique your interest, it might be better to move on to something less out-of-the-box within the metal scene. We'll only be getting more of this!En harmoni (a match) gives us the first good listen to the beautiful violins we know from earlier albums. They are hidden in the background on the first song, but here they take the front of the stage. The progressive elements are even more prevalent in this song and are supported by a Hammond organ for the more '70s prog sound. This song features a beautiful vocal / drum break before launching in a heavy section that will remind the longtime listener of passages from their first album, Åsmund Frægdegjevar. Even more than in the previous songs, the attention is drawn to the drum performance by Vidar in Avskjed. 16 years is a long time between albums, but it's clear that he hasn't been sitting still all this time. His technique, choice of accents, and fills are incredible and lift this otherwise straightforward song, of just over two minutes, to another level. The same can be said about the riffs and guitars in general, with outstanding performances by Eystein and Roar. Now we can safely say that Lumsk is back and stronger than ever.With the start of Under Linden (Under the Linden/white wood), we get flashbacks from 2007's Det vilde kor. Although this album was more focused on ballads and vocal performance than Lumsk's other works, it didn't lose their unique sound and feel. This song is written in a very interesting combination of time signatures, but isn't too complex to follow along easily. We get another Hammond organ break, after which we are welcomed by a wall of distorted guitars and a captivating solo that shows glimpses of the better Opeth tracks. What differentiates Lumsk from them however are the fantastic vocals in Norwegian by newcomer Mari, who captures the sound of her predecessor Stine-Mari (although I do miss her soulful rolling 'R'). Fiolen (The Viola) follows the last song up perfectly and marks the first full-on ballad of the album. This short track gives room for, as the name already suggested, the violin. The performance of Siv Lena is as great as always and still leaning heavily on the traditional Scandinavian style we have gotten used to in the band's works. The first half of the album is closed off with Dagen er endt (The day is done). Unfortunately, this is also my least favorite track of the album, which in no way means it's a bad song! It captures all the elements we've heard so far and combines them to form a great, but rather straightforward, ballad.The first song of the second half of the album is the German Das tode Kind, and this is the first time we hear Lumsk with lyrics in another language than Norwegian. I like the concept, but think there is some loss of emotion when not singing in their mother tongue. This doesn't take away that this is another amazing song with a chillingly beautiful buildup to a heavy final, that once again takes us back to their first album. Lumsk manages to find the perfect balance between slow, intricate sections and distorted, heavy sections again. A Match is the first ever Lumsk Song in English, and it introduces us to the new voice of session musician Mathias. His warm baritone fits perfectly with Mari in this lovely duet, which focuses heavily on the lyrics. Things get shaken up in the later half of this song, where the time signature changes, and they once again build up to a heavy closing. Both vocals get more raw as the song progresses, making this perhaps the most metal song on the album, which you would never expect listening to only the first part of the track.We hear the return to German In Abschied. This is another heavy hitter, with great performances all around. The drums once again stick out due to the very contrary play style, which makes the songs so much more interesting on multiple playthroughs. By now it is more than clear that Mari has an incredible vocal talent, both fragile and powerful, fitting the music perfectly. Under de Linden continues with an incredibly beautiful vocal performance, guided by a melancholic piano riff. This song twice features a complex, but very satisfying, time signature change that I can't get enough off. The songwriting is of a very high standard and, understandably, it took the band some years to finish these compositions! (Although 16 years is a bit of a stretch, of course?)Das Veilchen is another fantastically beautiful track, with a buildup to an emotional eruption only the greatest in the history of prog-rock can churn out. Lumsk does this, all without ever sounding like they copy any band. This is another highlight of the album. When The day is done starts, the album has been playing for nearly one hour already, yet it feels like it could easily carry on for another hour. This last track features Mathias' vocals prominently, and at times his voice reminds me of some of the best Marko Hietala (former Nightwish) performances. Halfway through, Mari joins for a final time, topping the already great duet we heard on A Match. The piece forms a beautiful and engaging prog-rock epic, with very heavy 70s prog influences, mostly resembling Pink Floyd. Not a single note on this album overstays its welcome, and the only thing you want to do when the final note fades out is hit the repeat button. What an incredible experience!Lumsk manages to do the (nearly) impossible with this profoundly goosebump-inducing album: A return after a 16-year-long hiatus, combining all the elements that made the band great in the first place and creating the perfect culmination of emotionally driven, progressive folk rock/metal. If any of these genres speak to you, you simply must hear this album. To close things off, it must be mentioned that the production of this album is of a very high standard, giving room for all the individual elements to shine, while still sounding pure and heartfelt. This is without a doubt their best work to date, and I would almost say it was worth the wait! Just don't take another 16 years for the next album, the world needs more remarkable and unique pieces of art like this album!Highlights: All tracks, but if I had to choose: Det Døde Barn, En harmoni, Avskjed, Das tode Kind, A Match, Abschied, Das Veilchen." - ProgArchives
    $15.00