Rumahoy – Time II: Party Review

Score9/10
GenreFolk Power Metal (Pirate Metal)
CountryArgentina
Runtime38:29
Release Date25 October 2019
Record LabelIndependent

Blowing in only a year after their debut, the self-proclaimed “Best True Scottish Pirate Metal Band in the World” Rumahoy are back with another booze-fueled party album ready to go: Time II: Party. After sailing the seas of the Wild West, Captain Yarrface and his skimask-clad crew have written ten catchy sea shanties of the most fucking ridiculous variety. Within you’ll find the expected power/folk metal combo that’s typical of pirate metal, but with a variety and dynamism that’s all but unseen in the genre.

As with any comedic metal band, like Nanowar, Alestorm, Tenacious D, or Gloryhammer, the jokes and humour are definitely important, but the true key to success is the music itself. If you take away the hilarity of the lyrics, the music should still be able to hold its own, otherwise the act gets pretty old pretty fast. Fortunately, the talented Rumahoy have fucking nailed their songwriting, so, while you’re not busy laughing your ass of at things like “Hooks out for Harambe!” and “pirate erection”, you can appreciate the musical arrangements almost as much.

As far as contrast goes, these party pirates have nailed that, too. ‘1000 Years of Dust’ brings a darker, heavier sound than the rest of the album (as you’d expect from a song about pirates kidnapped by mummies), and there’s the electropop dance tune ‘Poop Deck Party’ which features some unexpected rapping by Gloryhammer/Alestorm founder Christoper Bowes. Every track on the album commands a contagious, heroic energy, along with anthemic “yo-ho-ho”s, “oogachaga”s, or similar chantable choruses and killer grooves and riffs. Group that together with clean mixing and a tight band, and you’ve got yourself an unstoppable pirate force.

If you like your pirate metal with a heavy serving of sick riffs, ripping solos, jokes about poop, and the occasional cheesy keyboards, this album is exactly what you need. Rumahoy have effortlessly outdone all of their competition with Time II: Party. It’s fun, it’s clever, and it’s crazy good.

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Wind Rose – Wintersaga Review

Score9.5/10
GenrePower/Folk Metal
CountryItaly
Runtime49:59
Release Date27 September 2019
Record LabelNapalm Records

Well, summer’s over. That means the time for beaches, bimbos, and barbecues is at it’s end, being instead replaced by the dark, wind, and cold. However, this is the perfect season for a dwarf! And what better way to explore your potential dwarfhood than cranking out the meanest, mightiest of man-metal? Enter Wind Rose, Italy’s finest dwarf metal army, and their fourth album, Wintersaga. As the band’s most impressive album to date, it’s as if it was smithed in the forges of Khazad-dum itself. If its epic chants and upbeat hymns aren’t enough to get you into the season, they’ll at least get your blood flowing hard enough to keep you warm.

As usual, the Tolkein themes are strong in Wintersaga, as is evident in half of the song titles. Additionally, the album is split into two sections; the first contains the fun, catchy party tunes, and the second, which encompasses the final three songs, features a more power prog approach that hearkens to the band’s earlier works.

However, the core sound of Wind Rose has shifted as a whole from their progressive power metal roots to settle upon a more bombastic, anthemic sound in Wintersaga. Traces of their past are still present in the form of dynamic songs with multiple sections, especially in the nine-minute epic, ‘We Were Warriors’. There’s a heavy reliance on choirs and orchestrations to maintain an imposing atmosphere, but the heavy guitars and insane drumming give the album a mountainous foothold. On top of that, for such an in-your-face approach to metal, the transition between every section is seamless.

But the real power behind Wintersaga is the onslaught of chanted, mead-fueled folk melodies which would give even Alestorm a run for their money. Songs like ‘Drunken Dwarves’ and ‘The Art of War’ are sure to get all sorts of bottoms up. Even the heavier, more rugged refrains of ‘Diggy Diggy Hole’ and ‘Mine Mine Mine!’ will invoke a similar sense of merrymaking. The vocals are the lifeblood of this album, and they weld all the different pieces together.

Dwarf metal. How has such a simple idea never taken off as well as it has here? Besides running with a concept that simply makes sense for this kind of sound, the memorable arrangements and musicianship are as solid as can be, which makes Wintersaga amusing as well as a serious work of music.

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Interview With Elvenking’s Aydan

When you think about folk metal nowadays you maybe think of different stuff. . . Bands like Korpiklaani or Ensiferum, which are more on the extreme side. I think we are still something a little bit different.

Folk metal icons Elvenking were instrumental in the creation of the folk metal scene. Despite a few stylistic changes throughout their 20+ year career, they have always maintained a high level of quality and folky energy in every album. The band released their tenth album, Reader of the Runes – Divination, only a few days ago, and they continue to prove their place at the forefront of the genre. In the midst of such a busy time, the band’s songwriter and guitarist, Aydan, gave me the pleasure of sharing his thoughts on the making of Divination.

Kane: So, Elvenking has been around since 1997, which makes it as old as I am! How have you seen the folk metal stage in change since then?

Aydan: It’s interesting because when we started as a band in 1997, basically there was no folk metal scene at all. I mean, the only folk metal band we knew of were Skyclad from Britain. The communication in the metal world was different from now. So obviously there were some extreme metal bands or black metal bands that had the influences on the folkloristic music and stuff like that but there wasn’t really any folk metal scene existing at all.

Nowadays we are considered one of the originators of the scene but at the time we didn’t have a clue of what was happening. We just did the music we love and we mixed our heavy metal influences with some music coming from the mountains nearby, so it was really something different. Through the years, then, a lot of bands came out and the so-called “folk metal scene” had and still has lots of success.

That is one of the reasons why, through the years, we moved away from the scene and we also did two, three albums that were very distant from that, because we felt like, you know, we started something and then other bands came out and had more success than us so we wanted to show that we were able to do different good things. But from Pagan Manifesto on we went back to the origins of the band, to what the idea of the band was, both musically and lyrically. And, well, we’re still here nowadays!

I can imagine it’d be completely different than it is today, where it seems like there’s a new folk metal album or band every other week from some random town in Eastern Europe or something!

Yeah, exactly, something like that. [laughs] So, it’s kind of weird because it seems like it’s something that’s very. . . I don’t know. This folk metal stuff is coming out of everywhere, basically, so of course at the time it was very different. But we still try to be different as much as possible. As unique as possible. When you think about folk metal nowadays you maybe think of different stuff, maybe more extreme or more rough, let’s say. Bands like Korpiklaani or Ensiferum, which are more on the extreme side. I think we are still something a little bit different.

Yeah, there’s not as many that are closer to power metal like you guys are. Maybe Wind Rose or something but I think that’s it for the more popular bands.

Yeah, exactly. I don’t think that there are as many bands that are similar to us. I mean, obviously we have strong power metal influences and also a lot of stuff coming from some of the extreme metal scene of the 90s, like Swedish death metal and so on, and so there is still something different from what is out there, especially for the vocals, for example. Like the approach to the vocals, stuff like that.

So we always try to be as unique as possible, even though “originality” is a pretty hard word to use in music in general, because there is nothing “original” anymore, probably. But at least we try to be as recognizable as possible.

Absolutely. On the note of being unique, the first thing I noticed about your new album Divination is that it’s pretty distinct from even a lot of your guys’ own work. I found it a lot more heavy and guitar-oriented. Is that something that you guys intentionally did?

Yes, absolutely. We felt that, through the years, we were always kind of losing a lot of parts of our music, like the guitar work, which was always hidden behind a wall of orchestration or stuff. We really wanted to have this time more focus on the guitarwork and stuff like that, and we noticed that in the past we used to put an overlay, you know, a lot of stuff that, in the end, you can barely hear. There were a lot of arrangements that were really cool to listen to on their own but in the whole song it was basically messy because they were moving the attention away from the important melodies or the rhythms that we wanted to hear.

So it is something that I believe you need to learn with time. You know, when you are young, you always try to put stuff on stuff to show that you are cool enough to do all the arrangements. [laughs] But in the end, what really is important is what you should be focusing on so, through the years, we tried to get away from a lot of useless stuff and try to be as basic as possible in order for the listener to be understand exactly what is happening. If you want to have some heavy guitars, the only thing is just to delete all the useless stuff around the orchestration. That’s the only way to make it work properly.

Yeah, I noticed that even all the way up to Pagan Manfesto that there were tons and tons of folk instruments in the background and you can’t clearly hear a lot of them, and the guitars are way in the background. So it’s really nice to be able to actually hear really cool guitar parts.

Yeah, exactly, that’s the reason. You know, maybe there is a folk instrument there, and you write the part and you record it and say, “Yeah, this sounds really cool,” but then, maybe it’s overlayed to the vocals, so you need to keep it very low, and then, even if it’s low, you distract from the vocals, so you put it even lower, and in the end there’s a lot of things surrounding it but you can’t really focus on anything, so what we did with this album was say, “Ok, do we need this part? Is it something that is fundamental?” No; it’s cool, but you cannot put your attention there if there’s something else going on. So we really put the guitars on top this time and, when there was space, we went for something else. But I’m really happy with the production of this album and finally we have reached this goal that we had for a lot of years.

As a huge fan of you guys, I obviously like this album pretty much as much as I love all your other stuff, but are you happy with how other fans and critics have received it?

Well, you know, the album has just been released; it’s just a couple of days out. But what we have seen so far is that the reaction from the press is overwhelming and really beyond any expectation. You know, I had the feeling that the work we did this time was pretty okay, that it was good, and we had a good feeling about it, but the reaction from the journalists and the press went really beyond any expectation and we are getting a lot of good words and great evaluations and stuff like that.

For example, we put out limited edition box sets for the album that basically sold out already. I had the impression that the press copies were too many and I talked to the record label and said, “Ok, let’s do less,” and they said, “No, let’s do this,” and we sold out on the preorders. And the reactions from the fans so far are amazing, I would say.

Has there been any real negative feedback or does everybody just love it?

[laughs] No, well, you always have negative reviews or something like that. To be sincere, so far I have seen probably one review which was, like, five out of ten, but I have read it – you know, I don’t really read the reviews. I did the work, you know, and I care about more of what the fans say.

Of course.

But the only thing I read was that one bad review, but it was really, from what I read, like, “I hate this kind of metal,” and I thought, you know, ok. Honestly, what we used to receive as negative feedback was always what we put out as the first singles because, when you put out a single or a video or something like that, it’s always difficult because you have to choose one song to reflect an entire album. I think we are still too old school and we have the impression that the song is the part of the whole album that you would need to listen from the first one to the last one, taking a certain journey through the songs and reading the lyrics and trying to understand what is happening.

So it is very difficult for us to choose single songs to represent the entire album. You never know if it should be a melodic one, a commercial one, a heavy one. Now, we have told the record label, “Choose what you want,” because everything we choose is not always the right choice. When we put out a single there is always someone complaining, “Oh, this is too melodic,”, “This is too that,”, “It’s not good enough,”. It should be the mirror of the album but often it is not like that. So this is something that happens often for an album, and it happened with this one, but that’s pretty normal, I would say.

So you guys have had a pretty stable lineup for the past few years, except for a couple drummers. Did that have a big impact on how the album turned out?

I don’t want to say, “Not really,” but as you probably know, me and Damna, our singer, are the ones who write the music, as we always did. So I don’t want to say that lineup changes can’t affect the music, but it really didn’t, in this case, because the songwriting was not affected.

The fact that we have great people, great musicians, amazing people is a plus, and, in terms of recording, especially in this album, everyone did amazing work, especially how Lancs played the drums and recorded them in the studio, because everything you hear is pure natural drums. It’s probably the first time that we never used any trigger or samples on the drums because his drumming is so consistent. When we gave the recordings in to Dan Swanö for the mixing, he was absolutely impressed about how the drums were recorded and said, “Ok, guys, I think this is the first time in my life that I won’t use any samples or trigger on the drums! Even though it’s a metal album, it needs to be respected how it was played.”

And we wanted to have a very 90s production, still modern but as natural as possible, so that was possible thanks to the performances of everyone in the band, so that was great.

Was the songwriting process for this album very different from how you’ve done previous albums or was is business as usual?

It was actually different for the very first time because this is the very first concept album that we have done, even in the past if we have done, you know, themed albums, like The Scythe, for example. So, for the very first time, there was less freedom in the songwriting, because we needed to have the music follow the lyrics follow the story follow the atmospheres of the story. So, the songwriting wasn’t as before where we were like, “I have this song, let’s put it in this part,” It was more like, “What part of the story does this feed? What mood of the story should this be? What kind of atmosphere do we need to explain this part of the story?” So it was pretty different, I would say, and also pretty challenging. And also this is just part of the concept, because there will be at least two more albums in a longer concept.

What was your favourite part about making Divination?

Uh, well, songwriting itself is always my favourite part because it is always surprising what we come out with. Every time we finish the songwriting of an album, I feel like I did everything possible for the album and like I have no force to write anything else in the future [laughs] because you just feel, like, empty and so on. And it’s always surprising when you come out with something new. You start from an idea to form a full song and the song then becomes something that really works and then, obviously, hearing the final result is always something that you don’t imagine when you start songwriting. You don’t have a clue where the journey will bring you or how the songs in your mind will really come out, in the end.

And why did you guys decide to make this string of concept albums?

Well, for some years we’ve always had the idea of doing a concept album based on something that we wanted to tell, but we never had the right story or time to do it, I don’t know. When we came up with a story and decided that it was the right one, it was immediately clear that one album wouldn’t have been enough to contain all the story, and that we need to do it in different chapters. So, the idea to create a story that is and will be contained in more albums like the chapter of a story is something that attracted us immediately and we felt it was the right choice to do right now in this moment.

You know, as I told you, from the Pagan Manifesto on it was almost like we were reborn as a band. We tried to go back and rediscover the passion we had when we founded the band back in the day when we were just a bunch of kids with the passion to play music and to create lyrics and stories around it, and we kind of lost this feeling and this passion through the years. But when we decided to restart from that point, we did two albums [Pagan Manifesto, Secrets of the Magick Grimoire] and thought that now was a good time for this. And at that point, to be sincere, the reaction of the people to the band was becoming better and better, so we felt that this was the time, if we wanted to do a project like this, and to do it as epic as possible. So, that was the reason.

What’s your favourite thing about Reader of the Runes – Divination?

Uh [laughs] I like the album. I like really like the fact that we did a concept album that isn’t boring like a lot of concept albums. You know, sometimes you tend to make it as grandiose as possible in order to make it big and something like that, but this is the first thing that we wanted to avoid. It’s not that we want to make a concept album that is very difficult or very complex or something like that. We wanted the people to listen to it and to create songs that could work also live and so on, so I’m very happy that we created single songs that work well on the live side or by themselves, but also that, if you listen to the album beginning to the end, you can feel that there is something going on and there is a story behind that has atmospheres that change as it goes from very romantic parts to very heavy ones.

Yeah, I think that’s my favourite thing, too, is that it works really well both as a concept album and even if you shuffle it into a playlist, where they’re still great songs on their own.

Yeah, exactly. That was one of our goals. Even if you shuffle it and listen to one song, you should enjoy it. And if you listen to the whole thing, you have maybe a different impression, but it’s working good.

Another thing I thought was really cool was the rune puzzle you guys released before the album was even announced. Whose idea was that?

Oh, that was an idea that came out, to be sincere, from our record company. We have a new girl in the company that is taking care of our promotion, and she is super super great. She was especially really into our idea of music and all the concepts we had and she’s a fan of black metal and stuff like that. It’s the first time we have had someone like that because usually a record company prefers music that is more melodic, and the idea we were bringing to the table really didn’t fit their way of seeing things. But since this girl came in, she came up with the puzzle things and we immediately felt a close cooperation with her and a close connection. So she took care of it. We really have to thank her. She’s really really great and did amazing work with us on the album.

So we’re just about out of time here, but I do have one more question. You’re the last remaining original member of Elvenking, so I think it’s pretty safe to say that you love it, but do you have any desire to pursue other projects or other genres?

[laughs] This is a good question! You know, I always felt that I wanted to concentrate one-hundred percent on Elvenking because it was my band and I founded it when I was a kid and especially because this is the music I always wanted to do. You know, back in the day, I didn’t find a band that really one-hundred percent fit my needs, because I love the power metal but also the more extreme stuff and acoustic folk and stuff like that, so I wanted to do something on my own. And, in the end, I think that especially with these last albums this was the music that I wanted to do.

So I never felt the need to do something else. But, your question is interesting because, just the other day I realized that I have a lot of songs that do not fit Elvenking at all. I write music here and there and there is stuff that cannot be put on an Elvenking album, and I have the idea that I want to record something on my own that will obviously be pretty distant from Elvenking. And, for sure, I think it will be something very atmospheric and aethereal, something like piano and vocals and acoustic stuff. And I think I will do something like that pretty soon.

I can’t wait to hear what that brings. Thank you so much for taking the time to talk with me today!

A: Yes, thank you! It was a pleasure.

Elvenking’s tenth album, Reader of the Runes – Divination, is the first part of a multi-album concept. It’s available now on all major streaming platforms, or you can buy it from their >>website<<!

Elvenking – Reader of the Runes – Divination Review

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Equilibrium – Renegades Review

Score3.5
GenreElectronic “Folk” Metal/Dance
CountryGermany
Runtime46:40
Release Date23 August 2019
Record LabelNuclear Blast

Imagine yourself in a simpler time. A time, perhaps, where you’re me. June is almost over, and one of your favourite folk metal bands, Equilibrium, just released a new single to their upcoming album. ‘Renegades – A Lost Generation’ is super poppy, sure, but its sick riffage combined with its heavy electronic booming is enough to get me excited. A lot of fans are furious at such a preview, but not you. You dig bombast with a side of catchy. So, naturally, you spend the next two months eagerly anticipating Renegades in all its thumping, dancing, metal glory.

But then it comes. It knocks on the door of your heart as you download it and press play for the first time. Your friend, ‘A Lost Generation’ greets you, but he’s brought his friends this time. Except, these aren’t the kind of guys you want to hang out and party with. No, they’re not. They’re some sketchy fuckers, and not the type you’d expect ‘A Lost Generation’ to hang around, either. As they enter, they beat the living piss out of you. One by one. Every minute or so, one of them puts on a different face: a caring face, asking you if you need anything. But, before you can respond, they change right back, smacking whatever hopeful expression you had on your dumb, unfortunate, betrayed face, and continue pounding your stupid ass. Toward the end of this slaughter, though, another walks in. ‘Hype Train’ enters, wipes you off, kisses your forehead, and tells you it’s there for you. Just as you put your faith in her hands, though, it’s stripped off again by the final douchebag of the evening, who spits on your motionless body, leaving you sad and alone.

Fun ride, huh? That’s pretty well how I felt listening to it. Needless to say, Equilibrium have invoked all of my fury and then some, because this is some serious bullshit. I’m not gonna sit here and bitch about how Equilibrium aren’t folk metal anymore, because everybody was expecting it after their previous album especially. Renegades features almost no folk elements, save for some synth interludes or intros/outros, but even those are probably just coincidental, because they follow the same lines as a lot of popular EDM does. But, whatever. I’m over it. What I’m not over, however, is the fact that, despite such a capable lineup and clear ease of executing a solid mix of electronic/pop/heavy metal, Renegades manages to pump out almost nothing but uninspired garbage, except for two songs (which I mentioned before).

Let me break it down a bit. Rather than making something cool and catchy, Equilibrium have just put together an album full of EDM and radio pop tropes that are masked behind bombast and massively heavy guitars and vocals in an effort to hide their overdone, simplistic faces. But that won’t work on me. I see you, mediocrity. I fucking see you, and no amount of flare or weight can hide you. ‘Tornado’ and ‘Himmel und Feuer’ are fine examples of this, where, if you stripped off the thin metal exterior, you’d be left with nothing but some sorry kid on Soundcloud trying to be discovered.

But not all of the songs follow this formula. No, some of the songs are just outright lost causes. Take ‘Path of Destiny’ for example. Who in the god damn brought this Luke-Bryan-makes-an-Apple-commercial idea to the show? Not gonna fly here, no sir. Surprisingly, the best part is actually the rapping in the bridge, which I could handle if the rest of the song wasn’t nu country ass. ‘Johnny B’ also brings its fair share of disappointment in the vein of Owl City (remember them? People listened to them in 2012 for some reason). But these two don’t even hold a candle to ‘Kawaarki’. This reject from the emo/metalcore scene of the late 00s is so unworldly irritating that it actually burned all of the fingers off every pair of gloves in my house. Get this “rawr XD’ shit out of my house. It’s 2019 for Christ’s sake.

Now, in an effort to try to end this review on a more positive note, Renegades does have a few good things to offer. If I went to a party and it was playing, I could handle it. Also, like I mentioned, ‘A Lost Generation’ and ‘Hype Train’ kick all sorts of ass, and, if the rest of the album were more on that side of things, it’d’ve been everything I wanted it to be. Additionally, there are a few cool drum fills and riffs scattered throughout, but for the lengths you have to travel to find them, it’s just not worth it. Honestly, you should still check this album out. It’s unique, to say the least, and there’s such a variety of tracks that you’ll probably like something.

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Elvenking Release Third Single Of New Album

Elvenking’s Reader of the Runes: Divination is less than a month away. Fortunately, we’ve received the third single of the album. ‘Divination’ displays a bit more of the traditional Elvenking sound than their previous two singles.

Make sure to pick up Reader of the Runes: Divination when it comes out on 30 August!

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Heilung – Futha Review

Score9/10
GenreNeofolk (Amplified History)
CountryDenmark
Runtime1:13:34
Release Date28 June 2019
Record LabelSeason of Mist

After the near-instant success of their debut, Heilung have returned with Futha. The band’s music tries to pull the listener into the spirit of Iron Age Northern Europe to a time before the spread of Christianity and Western political ideology. They reflect this by using unconventional song structure, unsettling execution, and maintaining an ancient pagan atmosphere. However, Futha differs from its predecessor in one core way; where the masculine Ofnir took a lot of musical and lyrical inspiration from inscriptions on armor and weapons, the feminine Futha takes from ancient Icelandic poetry and healing spells.

Before we dig into the album, let me begin by saying that, if you have neither the time nor patience to listen to this album in its entirety in one sitting, wait until you do. Darker trance music like this is really meant to be listened to all at once, so if you decided to break it into numerous sittings, you’d only be robbing yourself of a phenomenally unique experience. Oh, and it’s even better if you listen to it in the dark.

Even among other neofolk bands, Heilung are in a league of their own. Their sound is far more haunting and experimental than bands like Wardruna or Danheim but, as far as melody and droniness go, they sit somewhere between these and the ambient Draugurinn. Furthermore, in Futha, the emotions are amplified to such extremes that you can expect to feel an overwhelming sense of sorrow or despair in a few spots, as well as goosebumps during its intense climaxes.

And it’s for this reason that it’s far more difficult for me to review a piece of music like this than it is to review a metal album. This music is about feeling and emotion rather than entertainment, so it almost feels wrong to score it anything other than “Yes, it made me feel,” or “No, it made me bored,”. But, as you can already see, I’m giving it my best shot, so fuck it.

Now, let’s look at Futha‘s actual contents. On the low end of things, there are a few purely spoken passages, which unfortunately took me out of the zone a couple times (namely, the demonic speaking in ‘Elivagar’, which brought me out of it twice). They aren’t all bad and they usually do a good job at constructing an atmosphere, but it’s a bit excessive at times. However, this is all more than made up for with the cascade of chanting, passive percussion, and numerous vocal styles such as horrifying growls, throat singing, female vocals, and disorienting shrieks. Every song begins with a low ambiance and then builds upon it with new layers of these different elements like the crescendo of a midnight wind through a primordial forest. (And there it is, ladies and gentlement: the most pretentious simile I’ve ever written.)

The key to Futha‘s success lies in its repetition. Its songs don’t often contain more than one or two parts, but the occasional addition (or jarring introduction) of a new part will keep you stimulated while you’re entranced by whatever recurring chant has the stage.

All in all, this album made me feel all sorts of weird shit, so I’d say it accomplishes exactly what it sets out to. Not only that, but it does so without me understanding a single fucking word that’s spoken in it, which I would consider a trait of true music. With only two albums to their name so far, Heilung have proven that they are masters at weaving a mesmerizing tapestry and that they aren’t just another tryhard ambient band. Futha is an absolute gift and you owe it to yourself to shut off for a while to listen to it.

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Salduie – Viros Veramos Review

Score8.5/10
GenreFolk Metal
CountrySpain
Runtime1:01:01
Release Date25 Feb 2019
Record LabelIndependent

With the genre becoming more and more popular, the folk metal band pool is becoming so over saturated with shit (as with every other genre, I suppose) that I’m usually a bit nervous going into an underground band that I’ve never heard of before. And, more often than not, my concerns are well-placed, because they’re not even worth giving the time of day.

Fortunately, Salduie is far from being in that category. I haven’t heard the rest of their music, but Viros Veramos is more than good enough to give me a high opinion of them. The songwriting is imaginative, the many bandmates (and numerous guest musicians) are very talented, and there’s never a dull moment. There’s such a wide selection of variety, both in feel and in instrumentation, that you’d be hard-pressed to not like something about it.

While I love the entire album, there are some clear favourites for me. ‘Kalakorikos’ is pretty power-metally and is all over the place in the best of ways, from its cheesy chanting chorus to its barbaric breakdown. Another phenomenal track is ‘Viriato’, which, like ‘Kalakorikos’, is exceptionally dynamic. The changes into 5/4 and back into common time are seamlessly executed and the keyboard run before the mean guitar riffs is an excellent touch.

My only real issue with this record is that the mixing in some parts favours the melody too heavily and almost negates the rest of the band, in ‘Sedeisken’ especially. However, it’s not a problem that’s prevalent throughout the entire album, so it doesn’t bother me too much. The mixing and mastering is otherwise just fine for a folk metal band.

I know I said it before, but Salduie doesn’t fuck around in the fun songwriting department. The balance of folk/metal elements varies greatly from song to song; the extreme metal influences are strong in ‘R.T.N.P.’, whereas songs like ‘Bolskan’ have your usual power metal/folk mix. And, on the other side of the spectrum is the lighthearted instrumental ‘El Encinar de Togotis’.

Despite all of the different things this album has to offer, there are a few key ingredients that are present in every single song: strong melodies, passionate vocals, and lively instrumentation. Viros Veramos is a must-listen for any folk metal fan who’s looking for something that stands out.

Salduie – Sedeisken

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Stay Metal \m/

Welcome to PowerThorn!

PowerThorn is your source for news, reviews, and recommendations for the power metal, heavy metal, and folk metal of the twenty-first century.

Contrary to popular belief, new metal bands pop up every month. Additionally, some of these bands are actually really good (as if)!

Unfortunately, it seems like too many metal sites get stuck either posting about the same thrash and death metal bands or talking about nothing but the classics. Don’t get me wrong; the classics, especially Iron Maiden and Ozzy, are what got me into metal in the first place. Yes, we all know they paved the way for metal today. Yes, we all know they’re great. Yes, we all know that they actually aren’t great, but legendary.

However, I will very rarely post about them, because that’s been done for the past fifty years. I’ll also leave the extreme metal to the other guys, because that’s just not what I’m into.

Most everything posted on PowerThorn will be about power metal, folk metal, or heavy metal. Foremost, I’ll keep the content current. I’ll try my best to include content from newer, lesser-known bands. I’ll also do a fair bit of posting about the popular ones.

So, come check out the site. Don’t forget to come back for frequent posts. Also, go like the Facebook page!

Stay Metal \m/

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Seven Great New Folk Metal Bands

With long-standing bands like Elvenking and Equilibrium still putting out quality albums, it’s evident that folk metal is alive and well. The following is a diverse list of folk metal bands formed in the past five years that prove that the legacy of the genre is in good hands.

KormaK – Italy, 2014

The metal put forth by KormaK is some truly heavy stuff. Their first album, Faerenus, was released in June 2018. Beyond the deep content and melodic death metal sound, leading lady Zaira de Candia’s harsh vocals take KormaK to another level; her sheer versatility is already enough to impress, but, man, can this woman growl. The acoustic parts are tasteful and the songwriting is anything but one-dimensional.

Despite having since released one new single, entitled ‘Brigante se More’, KormaK will surely leave you impatiently waiting for their next record.

KormaK – Faerenus (Rockshots Records)

Blodiga Skald – Italy, 2014

I love these guys; their act, complete with tacky Norseman garb, super-corny nicknames (such as “The Glorious One” and “Shepherd Tamburine”), and even painted on abs, is exceedingly befitting of a folk band. While the entire band displays impressive technical ability, vocalist Anton Caleniuc (stage name ‘Axuruk “Jejune”‘) deserves some special recognition. Between his hilarious stage presence, throaty growls, and bouncy personality, he adds a special flavour to an already splendid band.

In the wake of so many bands with heavily emotional content, many people seem to forget that one of folk music’s primary purposes is to be fun. Not to worry, however, because Blodiga Skald will do a fantastic job at reminding you to loosen up.

Blodiga Skald – Panapiir (Soundage Productions)

Cronica – Poland, 2014

With three vocalists, a violin, keyboards, and flute parts, Cronica’s Na Tej Ziemi (October 2016) delivers a beautiful, full-sounding folk tribute with plenty of variety. The feel is light and the electric guitar mixing is toned down, allowing for greater ease in hearing each individual part.

No one musician sticks out, but that only enhances the cohesion of the group as a whole. While not my favourite band on this list, they lack no talent and are surely worth checking out.

Cronica – Śpiący Rycerze

FoxTale – Russia, 2015

Foxtale’s first release, Сказания севера, was put out December 2017. The sound is of the epic, power-metally variety, and, while no one song is exceptional, the album is pleasant to listen to.

FoxTale’s style isn’t anything new, but I can’t share a folk list without a band that sings of the glory and might of the gods (and trolls). The songs are entertaining and structured well enough to keep from being banal.


FoxTale – “Ярость Тора” (В Светлый край EP Version)

Rumproof – Hungary, 2014

No folk metal list could be complete without a healthy dose of pirate metal. Featuring the typical ale-driven shanties and lively instrumentation, Rumproof’s music makes for a much more light-hearted listen than most of the other bands on this list.

Rogues of the Seven Seas was put out in April 2018, delivering all the familiar high-seas antics without boring you into walking the plank. Despite the silly tropes that may seem overdone, Rumproof still does a good job at remaining likable and stays afloat. The band is surprisingly tight, Péter Szűcs’ guitar solos are killer, and the instrumentals are dynamic.

Rumproof – Rogues of the Seven Seas

Chrysilia – Greece, 2015

Chrysilia is the brainchild of lead vocalist Chryso Stamatopoulou and keyboardist/composer Elias Pero. Their first and only full-length album release to date, Et in Arcadia Ego, blends elements of symphonic metal into their own flavour of folk metal, which, combined with the crisp production quality and Stamatopoulou’s soft vocals, creates an more relaxed, immersive experience.

Chrysilia – The Menalon Trail (Feat. Margarita Papadimitriou)

Iomair – Canada, 2017

Canadian prog-folk metallers Iomair came together in late 2017 under the design of multi-talented songwriter, drummer, and clean vocalist Dylan Gowan. The band’s influences range from latin music, to funk, and, in case you haven’t figured out yet, folk and metal.

Iomair’s self-titled album came out in September 2018, with recurring themes of internal reflection and struggle. The violin, played by Laura C. Bates, is prominent throughout, and there are plenty of short, jazzy breaks that set Iomair aside as something new and unique. Despite the sorrowful content, the music seldom conveys too much doom-and-gloom.

Iomair – “Cast Away” (Infamous Butcher Records)

Bonus!

Remember when I said folk metal is meant to be fun? Well, have fun!

Blodiga Skald – Isla Bonita (Madonna Cover) / Colegiala (Tefaccioseccomerda EP)

Stay Metal \m/