Many moons ago, I stumbled upon the 2001 Borknagar release, Empiricism, having never heard the band before. While that opened the floodgates that ultimately resulted in my absolute admiration of that band, it was also the album that introduced me to lead vocalist Vintersorg. While many would argue that Borknagar has better albums and better lead vocal contributions from artists like Garm and I.C.S. Vortex. Regardless of preferences and the flavor you seek, Vintersorg’s voice stung me and forced me to explore the man’s solo career. Similar in approach to Borknagar, Vintersorg injects far more of the Viking folkiness than Borky. While both are ultimately progressive, Vintersorg is not afraid to tinker with some strange influences and bizarre keyboard atmospheres. At one point, a song grooves without much deviation, and the next, you haven’t a fucking clue what’s going on. Like any band, not all of it works, but Vintersorg is a solid outfit that, if you’re into the style, never lets you down.

This year brings Vintersorg’s eleventh release since debuting in 1998. Which is fucking wild, making them one of the most prolific of the style. Yet, this is the longest we’ve waited for a new release in the band’s entire existence. After releasing the sequel to their debut record in 2017, things have been quiet on the Vintersorg front. But now they are back with Vattenkrafternas spel sets out to take that same infusion of the Vintersorg of old with the Vintersorg of new that we heard from Till fjälls del II. Which I can’t complain about, considering I love it when the band knocks out some of those nasty black metal licks. Not that they have abandoned those influences in the last decade or so, but it’s a touch more prevalent on Vattenkrafternas spel. But, how far will they go, and how well will it work?

“Efter dis kommer dimma” gets the album going right away, delivering that classic Vintersorg sound I love. Ripping through a simple black metal riff, encased in Vintersorg’s traditional oooo’s and aaaah’s, it charges ahead waiting for the harsh vocals to body slam it. They do for a bit before the gorgeous, clean vocals take over. Toss in some circusy key work and the introduction of some female vocals in the powerful chorus, and we have a fitting opener to this new record. “Malströmsbrus” is another highlight, utilizing a similar pace and vocal performance but with far more of the band’s signature folkiness. Particularly when it comes to Vintersorg’s unique vocal diversity that I can only describe as Viking “yodeling”. Like the opener, “Malströmsbrus” features a memorable chorus that alternates between harsh and clean vocals, but it takes a dark turn in the back half. While the drums and guitars fight to keep the sinister passage alive to the end, they finally succumb to the beauty of the chorus to conclude the track.

While the keys have a presence in these two tracks, they dominate “Ur älv och å” and the closer, “Ödsliga salar.” Orchestral keys introduce the track before the drums and guitars join in the fun. After folking things up, the band transitions into a tasty riff with big fucking vocals that continue to rise until the chorus soars. But like “Malströmsbrus,” dark clouds form as the song drags the listener through fever dreams before soaring to the clouds and “yodeling” the hell out of your soul. But the closer takes it all to its limits. The orchestral parts are almost too big at times, creating an odd, overpowering effect on the rest of the instrumentation. But it still works, unlike the song’s predecessor, “Skyrök,” which goes on far too long, with orchestration that is almost comical at times. Yet, this song still tosses in everything but the kitchen sink, overlaying clean vocals with harsh and guttural barks, supporting Viking chants, and, for better or worse, a guitar/keyboard solo duel.

Like “Skyrök,” “Från djupet dunstar tiden” is another that tries too hard. Instead of a bunch of keys and orchestration that becomes overwhelming, it’s the interpretation of the sleek piano piece by the drums and guitars that makes things weird. Toss in some circusy keys and Vintersorg’s odd vocal approach, and the song’s back half loses my interest. But these issues don’t cripple the album, and the overall flow is pleasing. And, unlike some of the complaints on this site about more recent Vintersorg records, you will not see a DR4 for Vattenkrafternas spel. While Hammerheart Records refuses to send a promo with a higher bit rate, at least the DR7 helps a bit. Specifically, when it comes to the rumbling bass in the closer. In the end, Vattenkrafternas spel is another solid outing from the band, and I’m glad to see them back after eight long years.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kb/s mp3
Label: Hammerheart Records
Websites: vintersorg.bandcamp.com¹ | facebook.com/vintersorganic
Releases Worldwide: September 26th, 2025

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At first glance, The Long Winter is exactly what you expect from Caswell and Burden of Ymir; the Norse influence is tangible, the black metal is blisteringly fast, and the accordion is present. And yet, The Long Winter is a darker, heavier record than its predecessor. Caswell does not hold back in the riffs department, and it’s a testament to his songwriting that The Long Winter feels heavy for the full forty-five minutes without sounding forced. Compared to Heorot, The Long Winter sees Burden of Ymir treading slightly less folk-y waters, focusing more on its black metal influences and allowing the concept to do some more of the lifting on the folk side. Songs like “Like Blood in the Snow” are angry, pulling no punches and letting riffs and blast beats shine. It’s recognizably Burden of Ymir, but sees a definitive step in a new—but still familiar—direction.

Still, folky fusion and blackened metal are two things Burden of Ymir do extremely well, and having the metal heavier only enhances the union. Opener “As Witches Under Cloak of Night” is a multifaceted gem with hooks, moody, tense interludes, and a galloping chorus that’ll have you setting sail before you know it. “Strange Craft” builds around an accordion lead in its intro into an unsettling, melodic journey through dark magic and black forests before exploding into black metal fury. “Another Seed of Yggdrasil” breaks out the clean singing for a mystical chorus that counterbalances Caswell’s rasps—as up to the task as ever, but at their most effective working alongside these more melodic elements. All this is to say that Caswell’s ability to blend black metal and Viking themes is as strong as ever, and The Long Winter is more enjoyable for it.

I’ve mentioned that The Long Winter dials back a bit on the “Viking” quality that was so apparent in Heorot, resulting in a listen that ultimately leans blacker and heavier than folky. The aforementioned accordion makes a few, brief appearances, and Caswell’s clean singing is much diminished. More notably, the hooky writing from Heorot is curiously absent; more songs are carried by riffs than leads, resulting in an overall less melodic listen. This makes tracks like “Strange Craft” and “As Witches Under Cloak of Night” stand out—they’re generally more energetic than the rest of the album, particularly the closing third. While it’s certainly all strong, it feels like the blend doesn’t quite mesh the way it should. There are a bunch of songs I love here, several that I like, and a few that feel like they’re there to beef up The Long Winter more so than entertain. They are entertaining—I can’t stress that enough—but I would hazard a guess that Burden of Ymir has a slightly different vision for The Long Winter than what I’ve personally experienced.

Still, Caswell is a great songwriter, strong guitarist, and knows his mythologies, meaning The Long Winter is a fun listen that continues his hot streak over several one-man projects, styles, and album releases. If black metal is your thing, there’s something for you here. If Viking folk is your thing, there’s something for you here. I won’t say it all comes together perfectly, but it doesn’t really have to. It just has to be enjoyable to listen to for most of an hour, and it is. If you like any of the above styles, I would happily recommend you take a break from the awful weather we’re having (read: warm) and enjoy a long winter instead.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: burdenofymir.bandcamp.com | facebook.com/BurdenOfYmir
Releases Worldwide: July 4th, 2025

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Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.

When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.

Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.³ The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.

The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,⁴ at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.

Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.

Rating: Good!
DR: N/A | Format Reviewed: Stream⁵
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025

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The music may be melancholic, but Jordfäst gravitates towards the action-packed side of black metal rather than the atmospheric. Guitarist Elis Markskog prefers keen riffs and epic solos over icy tremolo picking and ambient synths, like a more sullen version of Havukruunu. There are more than a few nods to forebear Bathory’s Viking era in the form of pagan folk tunes and deep, resonant male singing (also by Markskog) to complement Olof Bengtsson’s sharp, staccato barks. Jocke Unger, now Jordfäst’s permanent drummer, buoys up the music even further with aggressive and bouncy rhythms. With a tight runtime of 35 minutes, Blodsdåd Och Hor is both lean and mean.

Blodsdåd Och Hor is quite literally a tale of two halves. Jordfäst does not break tradition with prior albums in that there are only two songs, each 17 minutes and sectioned into four separate tracks. The first half (“Ett altare av skärvor”) is steely and frigid, a harsh dissonant edge gleaming from the guitars. Jordfäst adeptly straddles the line between dissonance and melody, like in “Ett altare av skärvor, pt. 3” when clanging chords morph into a sinister, crooked tune. Blodsdåd Och Hor gradually warms up as it progresses through the second half (“Dit gudarna trälar är”), with more frequent Istapp-style clean singing and technical guitar solos to blast away the frost of the first half. “Dit gudarna trälar är, pt. 4” culminates with a hearty folk tune that hits like a blazing hearth fire after coming home from a cold mountain trip, a gratifying conclusion to the album. Even though, to my knowledge, no actual folk instruments are present, the Nordic roots are apparent in the robust musical compositions.

But, aside from these isolated noteworthy moments, Blodsdåd Och Hor tends to resist memorability as a whole for some reason. On paper, it has many qualities that I value in a record: dynamic songwriting, meaningful melodies, passionate ferocity, and a trim runtime. But maybe that’s part of why it’s not completely grabbing me—like a jack of all trades, Jordfäst is good at many things, but doesn’t feel quite exceptional in any. Or maybe (perhaps more likely) my taste is simply fickle. It might help if the volume were balanced more evenly between the principal harsh vocals and the clean backing vocals, as the former often feel too loud in the mix while the latter are often too faint. I’d also like to hear more Scandinavian folk influence seep into the guitars. It would likely go a long way to making Jordfäst stand out amongst their peers in this monochromatic genre we call black metal.

Jordfäst strikes a good balance between modernity and centuries of cultural heritage. Their melancholy approach to riffs ought to appeal to a wide variety of listeners; fans of second-wave black metal, dissoblack, and folk should find something here to enjoy. Though there aren’t too many standout moments that really resonate with me, Blodsdåd Och Hor is nevertheless very solid. I like Jordfäst’s practice of writing only two long-form songs per album, as it allows for ample development of ideas without blowing up the entire runtime. Make sure to pack winter gear if you choose to embark on this trek because it will be cold!

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: jordfst.bandcamp.com | jordfast.net | facebook.com/jordfastband
Releases Worldwide: July 25th, 2025

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Isa sits at a crossroads. Under the tutelage of Dennis Reksten, who had teamed up with Enslaved at the ripe age of 50,¹ the past few albums received a smattering of spacey synth ambience that allowed Enslaved to explore a new dimension in their craft, culminating in 2003’s Below the Lights. But for Isa Enslaved looked to the electronic and crooning talents of Herbrand Larsen, a young audio engineer who had helped those same albums animate and glisten. The shift in personnel brought with it a shift in drama. Not to say that prior works had lacked that kind of tension, but with lesser Viking swagger,² Isa rolls in its atmosphere through alien soundscapes and vicious harsh vocal cut-ins, with Grutle Kjellson’s inimitable, phlegmy rasp sitting dead center between twisting guitar lines and Larsen’s background counterpoint. No matter how strange and beautiful, Isa remains rooted in the brooding nature of Enslaved’s wintery, black metal identity.

In a manner that eludes many who play for Enslaved’s crown, Isa boasts a brilliant and otherworldly sense of guitar tone that provides and slice and crunch to heroic compositions. Bolstered frequencies lift the snarl of creeping tremolo runs with the weight of Kjellson’s crackling howls into reckoning rolls of Heimdall-weighed power (“Lunar Force,” “Violet Drawing”). Harmonic, heavy-handed, trv metal chords crash down with a classic, grooving beat to swirl a patterned Norse fury among pained wails and into resplendent, progressive modulations (“Bounded by Allegiance,” “Return to Yggdrasil”). Still Enslaved finds a firm footing in black metal, forging Bathory-infused riffage with anthemic tension and classic head-stacked energy to break up any lull in mood that Isa’s narrative lilts present (“Isa,” “Secrets of the Flesh”). And when fresh-at-the-time axe-slinger Ice Dale (Audrey Horne) slips loose with treble-knockin’, tricky blues solos (“Bounded…,” “Neogenesis”), his free and flamboyant style oozes with charisma.

Isa’s breakout and break-though progressive escapades give it the full life force for which Enslaved had been aiming with their earlier experimentations. Though never quite as out there as Norwegian neighbors Borknagar or Arcturus, Enslaved sense of cinema expanded through Isa via bookend atmospherics (“Intro,” “Outro”) and similarly-toned chord reprisals that reinforce the empyrean vibrations throughout every track. The gentle piano punctuation on “Lunar Force” gives shimmering, moonlight assist to the already gothic allure of its foremost stride. You can feel the arena swing that the now legendary, leaned-back Dale supplies to “Isa” and “Bounded by Allegiance” part in reverence to chorus breakaways, harmonized chants, and fluttering acoustics, only to return with additional amplified impact—crushing and unified attack. Isa lives on the edge of crescendo, with its first potential peak (“Bounded…”) ending in a hard stop before yet another catastrophic riff climb, which allows its twelve-minute epic “Neogenesis” the proper environment to build, to soar, to entrance with the majesty that it should. While no strangers to epic narrative, Enslaved used Isa to cement their legacy as masters.

If you ask a dozen Enslaved fans who find their aughts work to be their pinnacle, you may not always hear Isa come out as the dominant choice and for good reason. Much of the songwriting flex that Isa showcases presents in different fashions on many of this celebrated band’s works in that time frame. Whether the stronger gallop of Below the Lights, the heavier-handed psychedelia of Monumension or Ruun, or the near pure progressive romp of Vertebrae, Enslaved has many faces that they’ve worn well and better than other bands. But Isa stands alone for me as the balance of collective visions in the form of a well-armored black metal warrior—an album worthy of adoration from diverse angles of metallic enjoyment.

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For a band that’s only been releasing full-lengths for ten years, Havukruunu has been hella prolific, not only with releases in general but with great releases. Also, each album seems to be better than the next. The coolest part about their sound is that they’ve proved more can be milked from bands like Bathory and Immortal.¹ Be it the melodic interludes, big Viking choirs, or endless riff changes, Havukruunu continues to bring inspiration with each new record. Which, as hinted at, is difficult to do with a style that has been around since the ’80s and ’90s. And it’s no different for this year’s Tavastland. It’s a fifty-plus-minute journey of Viking and metal culture that’ll have you banging your head, swimming in oceans of melodic beauty, and barking out anthems of an ancient time never forgotten.

The most unique aspect of Tavastland is that the band’s original vocalist and bassist has returned. But, by the time the debut record, Havulinnaan, landed in 2015, Humö only played a minor role in the band. Years later, he’s back to offer up his bass to the crushing riffs of Havukruunu’s sound. Never a band to dismiss the bassist when writing and mixing releases, Humö displays perhaps the strongest bass performance of Havukruunu’s career. Rumbling like a fucking madman, songs like “De miseriis fennorum” are made even more impactful by his bass performance. That is quite the feat with a band that’s always had stellar dual guitar performances and drum work that’s every bit as meaningful to the band’s success as the other instruments. So, crank up them cans and prepare to be blugdeoned to death by Tavastland.

As with most of the band’s output, Tavastland contains a specific theme in the lyrics and the track layout. Case in point, the opener and closer begin with spoken introductions before the chaos ensues. These two tracks are also the longest and, without a doubt, the album’s epics. The opening track, “Kuolematon laulunhenki,” invokes more Immortal than the rest of the album as an icy, black metal lick kicks into high gear before the inevitable riff changes begin. When it comes, it comes with a dual fretboard display that erupts into a heavy fucking riff supported with a vicious vocal performance. Immediately, you understand the bass influence as Humö tears the fucking roof down. When the Viking choirs arrive, the Bathoryisms creep in and get stronger with each iteration. “De miseriis fennorum” similarly closes the album but with stronger Bathory influences and some old-school metal elements. When it settles in, the punchy vocals emphasize the riffs as voice and instruments work together. One of the coolest transitions comes when the bass abandons the guitars in favor of blastbeating along with the drums. Fucking goosebump inducing. As the song builds, we are treated with old-school Mercyful Fate dueling guitar work and a soothing Viking outro that would make Quorthon smile from ear to ear.

Between these bookmarks, you’ll find even more to love about Tavastland. Be it black metal assaults, impressive solos, melodic passages, Viking choirs, or even thrash, Havukruunu is here to take you for a fucking ride. “Havukruunu ja talvenvarjo” fires out the gates with a bass-heavy, blistering-fast black metal charge that transitions into another surprising twist. This time, it comes with a slick build-up that includes alternating acoustic and distorted guitars that somehow work. As the relentless bass pushes on, another twist arrives in the form of layered growls that hit harder than ever. The title track is another fantastic song with a lot of heart—lyrically and instrumentally. Using the same layered vocal style as the previous track, it tramps along before the envelope cracks open to reveal gorgeous strings and Viking choirs, cementing this beauty into your brain. “Unissakävijä” is another unique piece for its odd combination of thrashy riffs, melodic wonderness, and massive Viking choirs that set up the track before the blitzkrieg hits—though it’s a bit on the long side.

Not only does Tavastland continue to show a band that never disappoints—and continues to get better—but it’s one of their best-produced records. While 2020’s Uinuos syömein sota still gets a lot of spins in the Grier household, the compressed master is my biggest complaint. Now that Havukruunu is with Svart Records, maybe that will change. Because Tavastland is quite dynamic, allowing all the elements I’ve mentioned to rise to the top and slip to the background as needed. In an album completely submersed in killer tracks, some, like “Yönsynty,” aren’t as strong as others. Though it’s still a strong song, it can’t stand up with the rest of the incredible tracks on the album. That said, Tavastland is an AotY contender (again), and fans of the group will love it.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: havukruunu.bandcamp.com | facebook.com/havukruunu
Releases Worldwide: February 28th, 2025

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What Dragonborn does is drags pop versions of metal, rock, electronic, and hip-hop kicking and screaming into an album entirely devoted to TikTok trends like the “Hoist the Colors” bass vocal covers, Ronnie Radke’s antics, sea shanties, and melodies ripped from classic songs. Jeris Johnson helms the craft with a very confused charisma, a grungy smoky tenor that tries to adapt to the clusterfuck of influences, forcing a square peg of Viking and fantasy imagery through the round holes of trap music, nu-metal, and hard rock. Insufferably bland at best and unbearably awful at worst, influences slamming across the universe with Falling in Reverse-esque abandon. Dragonborn is as bad as you can imagine, and often worse.

Let’s start with the good mediocre passable tolerable. “John” is a dad-rock anthem with a decently written chorus that worms its way into your brain whether you like it or not – conjuring the likes of Nickelback or Staind. Jeris’ cover of Seal’s “Kiss from a Rose,” while utterly unnecessary and only adding a weaker vocal performance to song’s legacy, is as okay as a pop/rock song you hear on the radio in the mid-2000s. Otherwise, Dragonborn’s strengths shine as brief glimmers of potential in isolated passages: the Korpiklaani-inspired plucking in the intro title track isn’t bad; the riffs of “When the Darkness Comes,” “Down with the Dynasty,” and “Not a Person (Freak)” have some weight at first. Johnson’s voice is also capable and has potential, even if he can’t seem to write a solid verse, chorus, or bridge to save his life.¹ So, uh, we’re in fucking trouble.

Perhaps the biggest and dumbest thing about Jeris Johnson is his ability to make an audio train wreck impossible to look away from. Interpolations are perhaps most jarring. “When the Darkness Comes” features a central melody stolen from the Arabian riff (aka “Streets of Cairo”) in an “I guess the minor key works if you’re into that” way, the central melody of “Siren Song” is unashamedly robbed from the fucking Christmas goddamn classic hymn “What Child is This?” for fuck sake and I never thought I would be checking that off of my 2024 bingo card. Meanwhile, “Story of Our Lives” tries to force electronic, trap, rap, and Tyr-esque medieval melodies into an orgy with no chemistry; “Welcome to Valhalla” feels like you wanted “Hoist the Colors” to be both a Wardruna cut and a trap metal song by Travis Scott; “Here’s to the Years” features an Alestorm-meets-Dropkick Murphys pirate vibe plus Irish shanty jig that makes me wanna puke; “Down with the Dynasty” is basically a metal cover of “Centuries” by Fall Out Boy without any fun or catchiness; “Not a Person (Freak)” features a We Butter the Bread with Butter-inspired shuddering deathcore breakdown that is only iterated fucking once; “Eat Drink War Repeat” is basically a Brokencyde song with all the soul-crushing cringe and likewise not knowing what sex is; “Ode to Metal” is just a rap/punk song that Ronnie Radke would start beef with someone over; and “Finish Line” is basically a Five Finger Death Punch power ballad. The independent nature of Dragonborn is also plain bad, as Jeris Johnson’s autotuned gaffs shine through “Story of Our Lives” and “When the Darkness Comes” with piercing clarity.

So what’s left? A singer/songwriter who has no idea what kind of album he actually wants. Is he a Viking king? A club-frequenting playboy? A hair-flipping fan of Falling in Reverse? Someone who would actually defend Ronnie Radke on Instagram? Someone who’s likes Shrezzers’ “PVRNHVB”? I’ll tell you who Jeris Johnson is: he’s an influencer on YouTube and TikTok. And Dragonborn is an experiment of the most embarrassing variety, but ultimately is not intended for us. I mean, if you’re into unnecessary variety and TikTok trends, have at it. I need to sit down.

Rating: 0.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Self-Released
Websites: jerisjohnson.com | facebook.com/killjerisjohnson | tiktok.com/@jerisjohnson
Releases Worldwide: August 23rd, 2024

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There couldn’t be a more Kvaen song than album opener and leadoff single “The Formless Fire,” with its highly melodic tremolo riffing and oscillation between mid-paced stomp and careening blast. As usual, Björnfot manages to put onto record the kind of verve and urgency more easily conjured in live settings, both instrumentally and with his uncommonly legible black rasp vocals. His Dissection-inspired melodic black metal is the core sound of The Formless Fire, but as usual, there are other genres that creep into the mix. Previous album The Great Below often leaned into traditional heavy metal and Viking era Bathory, and while that’s been dialed back a bit here, it still emerges across the final three tracks, starting with the epic “De dödas sång.” The drumming on The Formless Fire is punchier than on past outings, making for Björnfot’s heaviest album to date. When things get chuggy on front-half cuts “Traverse the Nether” and “The Ancient Gods,” the sound even strays into blackened death metal territory. The latter especially sounds more than a little like fellow Swedes Amon Amarth, which makes sense since their former drummer Fredrik Andersson pulls kit duty here.

Kvaen is a band built for playlists, and there are plenty of bangers ready for plucking on The Formless Fire. As discussed, the title track is straight down the middle of their sound and well representative of their considerable strengths. That said, the real showstopper here is “Basilisk,” an absolutely rabid black metal barn burner that stands with the best songs from The Great Below and The Funeral Pyre. In fact, Björnfot screaming the name of the legendary monstrous serpent is up there with “Fire, Fucking Fire!” as the most inspired vocal performances in his catalogue. There’s nothing quite as stately as “Ensamvarg” on The Formless Fire, but “De dödas sång” comes close with its acoustic intro/outro, heroic guitar solo, and battle-march tempo. Brooding cut “The Perpetual Darkness” is pure Norse melodic black metal, equal parts melancholic and invigorating.

The slightly blackened death-leaning “Traverse the Nether” and “The Ancient Gods” aren’t bad songs, but they come off as a little outside Björnfot’s comfort zone and are a step down from the rest of The Formless Fire. That said, they’re much better than the one dud, maybe the first bad song Kvaen have ever released, “Tornets sång.” Stylistically it veers sharply away from the rest of the album into a sort of stomping trad/death metal that never gets out of second gear. It would be jarring no matter where it appeared in the track order, but the formal left turn could be forgiven if it was a good song. As it is, it earns a term Kvaen have always managed to avoid despite peddling in well-worn styles: generic. Thankfully, the skip button is right there waiting to take me to the album’s killer B side.

Kvaen are too good a band to be burdened with the word “dependable,” which sounds like damning with faint praise, but as they prove with The Formless Fire just how consistent they are, the shoe fits. Maybe after one or two more records in the same vein, my enthusiasm will start to wane, but it’s hard to imagine Björnfot will ever forget how to write a killer song. For now, I’m just going to enjoy eating the shit out of this chili cheese dip.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: kvaenblacklion.bandcamp.com | facebook.com/officialkvaen
Releases Worldwide: June 21st, 2024

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The Fisher Kings of Faroian metal are back and on the hunt once more with ninth album Battle Ballads, and all is right in the metalverse. Ever since these lads put the tiny Faroe Islands on the map way back in 2002 with their How Far to Asgaard debut they’ve been highly reliable purveyors of a unique blend of trad/folk/Viking metal that has no peer. 2019’s Hel provided highly entertaining and classy tales of swords and shields and I wanted more almost immediately. After a 4 year wait we finally get more from Týr. And the sound remains the same. They’re still the stewards of a unique style and that special blueprint has proven surprisingly durable, sounding fresh on album after album. The good news is, it still sounds that way. But can they keep their win streak going for yet another release?

The short answer is yes, though Battle Ballads isn’t quite as gobsmacking as their past works. That “it” factor that makes Týr special is still present and accounted for and there are several absolute bangers here that will thrill old fans and earn them new ones. Their kinda-sorta Ensiferum-esque style still cracks skulls, as opener “Hammered” demonstrates forcefully. This one has everything I love about Týr boiled down into one massive dose of awesomeness and it’s a great example of everything they do right, sounding like a more jovial Amon Amarth. It’s aggressive and epic with an urgent gallop driven by riffs heavy enough to leave an impression, and it’s so fooking catchy! Heri Joensen’s one-of-a-kind vocals seal the deal with a cool factor that can’t easily be defined and the chorus is V-money. Give me an album of cuts this badass and I could start writing my Record o’ the Year piece right now. “Dragons Never Die” is another stomping monster with that classic Týr sound as vibrant and effective as ever. The hooks flow like mead and the Viking ethos roars from the ever-catchy riffs and vocal harmonies. “Row” keeps the longboat moving through the waves with aggressive, rowdy energy and another winning chorus.

The second half of Battle Ballads has its moments but isn’t as stacked with killers. More restrained folksy pieces like “Torkils Døtur” and “Vælkomnir Føroyingar” are good but not great, and closer “Causa Latronum Normannorum” is a bit sleepy and uneventful. That said, rabble-rousing tracks like “Hangman” and “Axes” keep things from going too far down the folk hole and turning things into a Korpiklaani-fest. Battle Ballads blasts by in a flash and flows quite well. Its 41-plus minutes feel very accessible and most songs get in, give you the axe, and storm out all within 3-4 minutes. The production is big, bold, and clear without sounding too clean, allowing you to hear everything going on.

As with all Tyr platters, the big attraction are the vocals by Heri Joensen. He’s the rare frontman who sounds like no one else. His croons and bellows are the near-perfect blend of metal and folk and he injects a lot of passion and feeling into his vocals without having to overdo things. He’s just a special kind of frontman and he makes Týr stand apart. He and Hans Hammer serve up stirring riffs and harmonies aplenty, blending traditional metal ideas with folk and shades of Viking metal. There’s even a slight blackened edge appearing at times. Their playing creates a unique sonic tapestry that’s epic, majestic, and mighty, interlaced with folksy charm from their corner of the world.

Týr continue to do their own unique thing and the results continue to impress. I prefer Hel to Battle Ballads by a small margin but there’s still a lot to love here. Even the songs I don’t completely adore are quite good, and the best tracks strike hard and show no mercy. In a time when so many bands sound interchangeable, Týr continues down their own path and they should be respected for that, especially when their output is this consistent and fun. If you haven’t spent time with Týr yet, you’re a coward and a knave. Get your fishing rod and get with these bass masters ASAP.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade
Websites: https://tyr.fo/ | tyrband.bandcamp.com | facebook.com/tyrband
Releases Worldwide: April 12th, 2024

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It’s insane to think that Borknagar has been around for thirty fucking years. I still remember the day I discovered used copies of The Olden Domain and The Archaic Course. Then, I never looked back. Borknagar is one of those bands that I met at the perfect time in my exploration of metal, and it’s impossible to think of myself as a metalhead without them. Be it Garm, Vintersorg, or ICS Vortex (or all at once) at the mic, the consistency of releases remains the same. This is due to the unbending dedication of Øystein Brun and the clean-vocal and key foundation of Lars Nedland. There’s no other way to justify why the band still exists and produces incredible albums. No matter who fills in on vocals, guitars, and drums, the Borknagar continues releasing one fantastic album after another. After 2019’s fun and accessible True North, this year’s Fall reaches farther into the past to reset the needle, delivering some blackish attacks and headbangable energy. Worry not, they forever will retain that classic epicness, melody, and beauty.

“Summits” gets things started in true Borknagar form, powering through gnarly rasps and a razor-sharp black metal assault before everything changes. At the midpoint, the pummeling subsides, replaced by soothing clean guitars and a spacey atmosphere. When the melodic build begins, the two vocalists swirl around each other as the other instruments lift the song to the clouds. The atmosphere’s beauty is magnificent, taking all worries and fears away. And when the distortion kicks in, the clean vocals boil to the top, and the song quite literally touches the summit. “Moon” is another such track that utilizes a shredding, blackened introduction that inevitably gives way to gorgeous atmospheres and powerful vocals. It even sports a couple of old-school solos that show off the impressive skill of these Viking veterans. Like “Summits,” the shift comes in the middle of the track. The clean vocals add oomph to the atmospheric build, intensifying with each iteration of the chorus. The song’s most significant power comes from Vortex’s unique and identifiable vocal style, touching multiple notes in a single breath.

Others of great importance would have to be the back-to-back “The Wild Lingers” and “Northward.” The first has a dark, brooding attitude with low, soft vocals that bring to mind Green Carnation. But it stands out from the rest for having the most memorable chorus on the record. It’s a soothing piece that brings a calmness before the storm that is closer “Northward.” This follow-up track begins with a black metal frenzy, tearing through riff after riff in Dimmu Borgir fashion. It’s riffs like these that separate Fall from the last two records in the band’s catalog. Yet, as one would expect, the chaos eventually subsides in favor of soaring clean vocals and epic atmospheres. But it’s the depth of progressiveness in this song that makes it the biggest song on the album. Constantly alternating between aggression and beauty, all is a setup for the massive vocal performances at the end. It not only closes the song on a high note (literally) but also the record.

As with all Borkanagar records, Fall is a journey to be experienced in full. While I had some issues with track length on True North, I found little issue with lengthier songs like “Summits,” “Stars Ablaze,” and “Northward.” Of the three, “Stars Ablaze” is the weakest, but even that is a silly word. Like the closer, it’s a grower that’s worth the wait. As Lars and Vortex toss their voices at each other and the atmosphere builds, the payoff comes when they blend into one. Every fucking time that happens, I can’t help but get goosebumps from head to toe, and even on the tip of my penis. Even when it’s not all about the clean vocal harmonies, there’s an incredible partnership between the two vocalists. The best example would be the odd, but pleasing “Unraveling.” Odd because there are almost Sabaton-like qualities to the song, giving it a big, fun Viking feel. And it’s matched effectively by the battle between the clean and harsh vocals.

Fall combines all the band’s recent releases with some of the harsher moments of their past, making it one of the band’s better-balanced discs. You get the heaviness when needed, the blooming atmospheres to the climax, and—per usual—stunning vocal performances throughout. After repeated listens, I still find something new in each of Fall’s songs. When compared to 2019’s True North, this release has more elements, greater progression, and better continuity than its predecessor. While memorability has never been an issue for the band, songs like “Summits” and “The Wild Lingers” will forever be embedded into my brain. While tracks like “Afar” and “Stars Ablaze” aren’t as powerful as others, they still serve a purpose on the album. In the end, Fall is beautifully rounded, flowing like icy water through the fjords. The year is still young, but Fall currently sits at the top of my year-end list.

Rating: 4.0/5.0
DR: Streamy | Format Reviewed: Stream
Label: Century Media Records | Bandcamp¹
Websites: borknagar.com | facebook.com/borknagarofficial
Releases Worldwide: February 23rd, 2024

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