Folk Metal

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Folk metal is a sub-genre of heavy metal music that originated in Europe in the early 1990’s and has since become more widespread. Folk metal, as the name suggests, is a fusion between various heavy metal styles and folk music. English band Skyclad is often credited for being the creators of folk metal for their 1991 album The Wayward Sons of Mother Earth, which featured a full time violinist alongside the more commonplace metal band setup of vocals, guitars, bass and drums. Many artists have since greatly expanded on the use of such instruments, with mandolins, banjos, flutes, whistles, bodhráns, hurdy gurdy and more all being featured in various folk metal releases.

There is no standard as to which metal genres can be merged with folk music to create folk metal, with bands ranging from more traditional heavy metal influences to extreme metal, with black metal being a common choice. Likewise there is no standard on how the folk influences should be utilised within a folk metal band. Mostly notably folk metal bands may or may not incorporate traditional instruments such as violins or tin whistles alongside the metal instrumentation. Some bands prefer to rely solely on keyboards to create a folksy atmosphere in their music (such as the first two albums by Russian band Arkona), while others prefer to play folksy lead melodies on electric guitars (such as German band Wolfchant and Norwegian band Storm). Because there are no standard norms for either side of folk metal it has grown considerably since the release of The Wayward Sons of Mother Earth to become one of the most diverse metal genres to exist. Bands can now range from the melodic to the extreme.

Since the genre's genesis, several regional variants of folk metal have also developed, the most notable being Celtic metal, Medieval metal and Oriental metal. The bands Cruachan (from Ireland), Subway to Sally (from Germany) and Orphaned Land (from Israel) are considered to be among the pioneers of each style respectively. While sometimes included under Oriental metal, metal music that makes use of folk elements from Eastern Asia is sometimes considered a folk metal subgenre of its own or distributed among other metal genres. For instance, Tang Dynasty and Fu Xi are both known for incorporating traditional Chinese instrumentation into their music, but the former are normally considered a traditional heavy metal band while the latter are considered a doom metal band.

Yet more terms have been coined that are commonly associated with folk metal: Viking metal and pagan metal. These terms however, while they can refer to folk metal, can just as often refer to another style entirely, the other style often being black metal. Terms such as these are usually used in regard to an artist based on their lyrical themes, rather than the sound of their music and as such artists labelled as such can sound very different from each other.

Folk metal has also often been crossed with other established genres of metal music to form distinct hybrids between two metal styles, where the folk influences may or may not be present in every song the artist writes, such as the power metal act Falconer. It is also not uncommon in modern metal music for folk influences to crop up as a rare occurrence such as in an introductory instrumental or even in a regular song.

The genre has become increasingly popular among metal fans over the years, reaching new heights in the 2000’s. Today folk metal bands hail from all over the world, although the genre itself remains most popular in Europe. Many bands have gained widespread attention from the metal press with bands such as Korpiklaani, Ensiferum and Finntroll numbering among the world’s most successful folk metal bands as of 2011.

Inclusive Folk Metal Genres

Celtic Metal is folk metal that draws specifically on Celtic folk music as a source for it's folk elements.

Medieval Metal is folk metal that draws specifically on medieval music as a source for it's folk elements. It is common for Medieval Metal bands to sing in German.

Oriental Metal is folk metal which draws influence from Middle-Eastern folk music such as Jewish and Arabic. The style tends to be more distinct than either Celtic Metal or Medieval Metal, which many listeners often just call Folk Metal.

- Written by adg211288 with the input of the Metal Music Archives Admin Team

Sub-genre collaborators (shared with Viking Metal):
  • adg211288

folk metal top albums

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folk metal Music Reviews

ELVENKING Reader of the Runes - Divination

Album · 2019 · Folk Metal
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DippoMagoo
While it is generally believed that most bands get worse over time, either through failed experimentation or because their music has gone stale, I find that to not be entirely accurate, as there are certainly many bands out there who have not only aged well, but have arguably put out some of their very best works to date, in recent years. One such band is Italian power/folk metal band Elvenking, who have never released a single album I would call less than great, and they have been on a particularly impressive run over the past seven years, with the trio of Era, The Pagan Manifesto and Secrets of the Magick Grimoire all being among my favorite releases by the band. Every time I hear they’re releasing a new album, I get excited, because I trust in them to always deliver something special, and so when I heard their tenth full length release, Reader of the Runes – Divination, would be coming this year and that it would be the start of a multi part concept, I was beyond excited, to say the least! Now that Reader of the Runes is here, I can safely say it continues the band’s ongoing winning streak, and manages to be possibly their best release to date!

At this point in their career, Elvenking has settled into their signature blend of speedy, aggressive power metal and epic folk metal, and while some releases towards the middle of their career were a bit experimental, their past couple of releases have felt like a seamless blend of all aspects of their music, with everything coming together perfectly. This trend continues with Reader of the Runes, as it feels like the band has figured their sound out completely, and they know exactly what they want to do, so fans of any of their previous releases, are definitely in for a treat! The album explores their sound to every extreme, with some very aggressive speedy passages, some more relaxing, uplifting folk passages, some more epic mid paced passages, and plenty of tracks that bring everything together, for one awesome package. The songs are generally straight-forward, with very catchy choruses, but between the excellent guitar work, symphonic arrangements and all kinds of different folk instruments, there is a lot going on at times, and many of the tracks alternate between different movements, with frequent tempo changes throughout. Instrumentally, the release is equal parts hard hitting, epic and very melodic, as always, and performances are fantastic across the board, while vocalist Damna sounds as distinct, intense and memorable as always, singing very powerfully at times, while also being able to rein in it and carry some epic melodies. He remains one of the most unique features of the band, with his very distinct voice, and while everything about the album is amazing, his vocals are my favorite part of it, as usual.

Songwriting has always been a strength for Elvenking, so it’s no surprise Reader of the Runes is yet another triumph, with nothing but greatness from start to finish. While I found the previous release, Secrets of the Magick Grimoire, to be book-ended with excellent tracks, and let down a tiny bit in the middle, this album is balanced all around, with my enjoyment never slipping off at all, throughout the entire release, across several listens: Just like The Pagan Manifesto, this album has a perfect a start, a perfect middle, and a perfect end.

The album opens with a brief intro, “Perthro”, which has various folk instrumentation and some epic chanting, as well as slight symphonic arrangements, and it’s a very relaxing, beautiful piece, which sets the tone wonderfully for what’s to come. Opening up the album in full force is “Heathen Divine”, which begins with more nice folk instrumentation before the guitars kick in and the pace picks up, never looking back. Verses are fairly fast paced, with some hard hitting riffs and fun vocal melodies, while the chorus goes full throttle and is the kind of epic, triumphant sounding chorus the band specializes in, except here it’s dialed up to the max, to somehow be even more awesome than usual. It’s certainly a wonderful way to kick off the album, and is one of the best choruses the band has ever written. The second half of the track mixes in some slightly slower passages, more epic vocal melodies and a great guitar solo, as well as an extra epic final run through the chorus. Overall, it’s an amazing song, and possibly my favorite on the entire album. The momentum doesn’t let up, though, as the first of two title tracks, “Divination” (also the third and most recent single,) is a fast paced, hard hitting track with some excellent riffs, furious verses, and a very fun, catchy choruses, which is a bit on the repetitive side, but in a way the band pulls off perfectly, so it ends up being energizing instead of annoying. There’s some nice folk melodies throughout, especially in the middle, to help make the track a wonderful blend of power and folk metal, like the band is capable of.

The first slower track on the album is second single “Silverseal”, a more relaxing, heavily folk infused track with some wonderful melodies. It moves along at a fairly slow but nice pace, with some relaxing, enjoyable verses, and the chorus is very melodic and warm, with some excellent vocals from Damna, but the highlight of the track is the wonderful folk instrumentation, especially in the middle, with some very nice melodies to accompany an epic guitar solo. Despite being on the slow side, it’s a very catchy track, and showcases the softer side of the band perfectly. Back on the heavier side of things, “The Misfortune of Virtue” starts off with more nice folk melodies, before turning into one of the heavier tracks on the album, with some pretty extreme sounding guitar work, and furious blast beats, at points. It’s mostly a fast paced track, with very heavy verses and instrumental sections, though the chorus is actually very soft and has some beautiful folk melodies, so it’s yet another case of the band blending the different aspects of their sound together perfectly. Once again on the softer side, “Eternal Eleanor” has some very soft, melodic guitar work, as well as a ton of folk instrumentation. It’s the calmest, most relaxing and most beautiful track on the album, with Damna singing very smoothly, and yet with a ton of emotion, giving a stunning performance. It feels like a classic folk tale set to music, with minor metal elements throughout, as well as slight symphonic arrangements. It has very nice verses and a huge, epic chorus, which only gets better towards the end, as it the sound gets bigger in scope and scale. Overall, it’s an incredible track, and one of my personal favorites. Following that is the brief interlude “Diamonds in the Night”, a largely acoustic folk infused ballad, which teases the chorus of the album ending second title track. It’s a brief, but very nice track, and serves as a nice interlude.

The lead single is “Under the Sign of a Black Star”, another softer, more folk infused track, though it has a bit more bite to it, thanks to some slightly heavy guitar work. Verses are fairly laid back, but still engaging, while the chorus is the kind of upbeat, epic and heartwarming material the band excels at, with some excellent vocal melodies, as always. The track has some heavy instrumental work in the second half, but it’s still a very nice, melodic folk metal track, overall. Getting back on the speedier side, “Malefica Doctrine” is one of the heaviest tracks on the album, and it does a nice job of alternating between speedy verses, with some very flashy guitar work, and a slower, epic chorus, with more wonderful vocals and folk melodies. The track varies in tempo a lot throughout, as well as alternating between heavy power metal passages, and lighter folk passages, to help make it another excellent blend of the band’s two styles. Next is “Sic Temper Tyrannis”, a more straight-forward track, which stays at a more moderate pace throughout. It has some epic symphonic arrangements, and is another heavier track, with a very epic, catchy chorus. The folk melodies are a bit more downplayed, compared to normal, but they’re still in there, though the track leans more towards symphonic power metal, overall, and does an excellent job of it.

Back on the more complicated side of things is “Warden of the Bane”, another track which alternates between some heavier passages, and some more melodic, epic folk passages. It gets a bit dark during the verses, before the uplifting melodies kick in for the chorus, and it alternates nicely between fast and slow passages, while being pretty heavy in spots, and beautiful in other sections. It’s another excellent track, overall. Closing out the album is the second title track “Reader of the Runes – Book I”, a near 11 minute epic, which takes everything the rest of the album has going, and dials it up to the absolute max! It has some fast, heavy passages, more amazing folk melodies, epic symphonic arrangements, and one of the biggest, catchiest and best choruses on the entire album. It alternates nicely between soft and heavy, as usual, and has some great extended instrumental work, while still having plenty of excellent vocal melodies. It’s an epic track, overall, and an amazing way to close out the album!

Elvenking are one of those bands that always deliver an excellent album, every time, and Reader of the Runes – Divination is no exception. It contains the same seamless blend of speedy, hard hitting power metal, and epic, uplifting folk metal as usual, while having some epic symphonic arrangements, and plenty of memorable huge, epic choruses, as always. This band has only gotten better with age, and while I initially thought The Pagan Manifesto could be unbeatable, this album may have just proven me wrong! Either way, it’s an absolute must buy for fans of the band,a s well as anyone looking for some truly special power/folk metal, as there really aren’t any other bands in the world who can pull this sound off nearly as well as Elvenking can. And with the promise of a direct follow up, I can’t wait to hear what comes next!

Originally written for myglobalmind.com: https://myglobalmind.com/2019/08/31/elvenking-reader-of-the-runes-divination-review/

ELUVEITIE Ategnatos

Album · 2019 · Folk Metal
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Kev Rowland
The Swiss septet have been making quite a name for themselves since their formation in 2002, but to my ears they haven’t always been as consistent as they might have been. When they are good they are very good indeed, but the mixing of melodic death with folk sometimes jars as opposed to gels. Well, with the release of this their eighth studio album they are back with a huge bang. I had long set myself the expectation that they would never again reach the heights of 2008’s ‘Slania’, but right from very first note this album grabs the attention and refuses to let go. Here they have channelled Midas, with everything they touch turning to pure gold. Chrigel Glanzmann has his melodic growls hitting just the right aspect, while Fabienne Erni’s pure clear sounds provide the contrast. In most bands she would be the solo singer, with not only great range but a real emotion in her voice, but her and Glanzmann share the stage and the band is all the better for it.

Often it is a whistle or recorder that can be the lead instrument, but when the band belt into full bore metal it is a brave piper who stands centre stage and weathers the storm. It is hard to pick a favourite, but “Deathwalker” stands out just because it is so damn catchy. This is one of the elements which has made this album leap out from others in that it is contains loads of great songs, with catchy riffs and hooks, so much so that one at times misses the maelstrom and sheer heavy mix of music which is going on as well. Incredibly heavy, yet always melodic, even when death metal is coming to the fore, with folk elements strongly alongside metal at all times. This isn’t a band throwing in a few bits and pieces just for the hell of it, but instead are taking the music of founding fathers Horslips and taking it to a logical conclusion. But have they reached the peak? What will come next after this one, how can they improve? The next release will be a live album later in the year during the course of their current world tour. 2019 has seen the masters of folk metal come back with a bang, long may it continue.



TROLLFEST Norwegian Fairytales

Album · 2019 · Folk Metal
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Kev Rowland
I really don’t know how to read these guys. Are they serious or is it is just one almighty pisstake which has now been going on for well over a decade? Personally, I think it’s the latter, and having been onto their website and discovered their logo may seem threatening at one point until you realise it is comprised of plastic blow up toys, I am pretty sure I am correct. But whatever you think of them, the Norwegian nutters are back with yet another album, their eighth! This time around they have apparently released a concept based on various Norwegian myths and legends. Each track tells the story of a different ancient tale from the band's home country. For example, opener "Fjøsnissens Fjaseri" deals with a troll who, depending on how you treat him around Christmas, either lovingly takes care of your farm animals or simply razes them to the ground, and includes a guest appearance from BORKNAGAR/ex-DIMMU BORGIR singer ICS Vortex.

Even the press release is on the joke, saying that the album “grabs the listener by the neck and push them through 10 more anthems dealing with the devil, undead sailors and the obvious explanation why you just shouldn't feed any alcohol to your goats.” Look, it’s Trollfest. If you are a fan of this drunken style of folk metal then you will love it, and if you’re not then you won’t. Unless you also drink serious amounts of alcohol.

MYRATH Shehili

Album · 2019 · Folk Metal
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siLLy puPPy
MYRATH return from its North African hideaway with the fifth album SHEHILI thus proving that this Tunisian band that has made a career out of mixing Middle Eastern folk music with metal is in no danger of going away any time soon. In fact this quintet plus session musicians has only become more famous internationally since its 2006 formation however despite the band’s exotic flair that has caught the rest of the world’s attention, these guys still don’t resonate very much in their native lands. It’s been three years since MYRATH released “Legacy” which found the band taking a softer less progressive approach than on the preceding “Hope,” “Desert Call” and “Tales of the Sands.” SHEHILI emulates “Legacy” with lush symphonically embellished power metal inspired metal tracks that wrap themselves around the classic Arab sounds of the Sahara.

Unlike MYRATH’s earliest albums which focused on the metal aspects of the band’s idiosyncratic fusion, SHEHILI continues the thick atmospheric cloud covers of “Legacy” and crafts more accessible pop hooks that take a blatant dip into the mainstream with catchy sing-songy melodic hooks with simpler compositional constructs that add some power metal heft but focus a lot of attention on more AOR flavors that demonstrates that the band is clearly going for the mainstream breakthrough jugular which is what makes this album a little weak compared to the earliest powerful displays of metal music that has now been tamed into one trick camel races all the way to the top of the charts.

On the positive side of things, vocalist Zaher Zorgati still delivers a powerful vocal charm and is perfect for the type of music that MYRATH has conjured up. The other winner is the strong symphonic string section that includes the usual menagerie of instruments such as the violin, viola and the new which is a Persian flute that is prominent in most forms of traditional Middle Eastern music. Also included are traces of lute and elegant piano arrangements that add touches of Western classical teased into the Eastern sounds. The symphonic touches overall are what define SHEHILI much more than the rather subordinate heavy rock aspects that barely even qualify for metal any longer. The production is also perfect as it allows each little sound to find its own space without intruding on the others.

Ah, i loved early MYRATH. The five-piece metal band from the far flung non-metal lands of Tunisia who dared conjure up metal mirages with local flavors. The early albums were powerful and delivered all the goods while weaving it all together in highly progressive ways. Most of those complexities have been replaced at this point with easy on the ears flavorings that keep most of the tracks sounding rather similar in approach. The formula is rather simple. Recycle the same Eastern musical scales, add a bit of guitar heft with the only occasional solo along with a rather subordinate bass and drum rhythm section. While Zorgati is clearly the star of the show with his passionate and intricately designed vocal style, the rest of the music falls rather flat compared to the earliest offerings.

MYRATH have obviously fallen into the trap that many bands do as they flirt with commercial success and by that they lose the passion that was generated in the beginning when the music was intended as a statement rather than a means of economic opportunity. While many bands find a way to balance these two acts by having a few more commercial tracks and some more sophisticated experimental and progressive ones, MYRATH have chosen to create a rather monotonic album’s worth of 12 tracks where the overall feel of the individual songs doesn’t really advance. It all sounds like a series of reshuffling with a few minor bursts of bombast for a little contrast. It’s clear form the videos that this band is aiming for the mainstream and that involves healthy amounts of cheese to pull it off. While the sound of the band is clearly intact, there’s just not enough going on on this new album to get me really excited. Personally i want the old MYRATH back. This just feels shallow. Not bad but not great either.

ELUVEITIE Ategnatos

Album · 2019 · Folk Metal
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DippoMagoo
There have been a lot of metal bands making an impressive resurgence in recent years, following either long periods of inactivity, or a big lineup change that initially seemed like a major setback. One such band to enter a new era recently is Swiss folk/melodeath band Eluveitie, who had released six great to excellent albums during their first twelve years of existence, before announcing some huge lineup changes in 2016, the biggest of which being the departure of Anna Murphy (Vocals, Hurdy Gurdy) and the addition of Fabienne Erni (Vocals, Mandola, Harp.) One year later, the band would release Evocation II – Pantheon, the long-anticipated sequel to their first ever acoustic folk release. However, while I found that album is enjoyable enough, it left me desperately wanting to hear how their new lineup would sound on a heavier album, so when the band’s eighth full-length release, Ategnatos, was announced, I was excited to hear how it would turn out. Now that it is here, it has not only exceeded my expectations: it has become by far my favorite Eluveitie album to date, and one that represents all aspects of their music perfectly, while also showing small signs of evolution.

Eluveitie essentially has two main aspects to their music: The heavy, melodeath infused sections where frontman Chrigel Glanzmann leads the way with his epic, varied growls, and the softer, more epic and melodic folk passages. The two often intersect on many tracks, and I generally find these tracks to be the band’s best works, with the mix between harsh and clean vocals, along with the heavy guitar work and extensive folk melodies, coming from many different unique instruments, all coming together to create something special. Stylistically, Ategnatos delivers more of what any fan of the band would want, with many straight-forward, hard-hitting melodeath passages, a fair amount of softer passages where Fabienne steals the show with her light, yet very powerful and emotional vocals, and a ton of sections where the two styles come together for something truly amazing. There are also some sections where the guitar work goes a bit into metalcore territory, though this is handled very well, and adds an extra level of intensity, without taking things too far, and there are also a ton of nice softer sections, as well as a couple of more danceable, somewhat pop-ish tracks, where Fabienne really gets to shine. Performances are strong across the board, as always, with Chrigel and all musicians, both old and new, doing a great job, while Fabienne really gets to shine in her first full album (Evocation II was very light on vocals) and proves to be an excellent addition to the band. The production is also top-notch, with all the different elements coming together perfectly, and it all sounds wonderful together.

As great as everything sounds, the most impressive part of the album is how the songwriting manages to be both incredibly varied and extremely consistent, with some of Eluveitie’s most dynamic songwriting to date, as well as some of their catchiest, most satisfying songs in quite some time. The title track (which also serves as the lead single) kicks things off in typical fashion, with a brief narrative section, which introduces the album’s overarching theme of rebirth (a very fitting theme, considering the band’s circumstances) and then there’s an extended sequence of folk instrumentation and choral vocals, before the guitars eventually take over and the band charges ahead with their classic melodeath sound, as Chrigel mixes high and low growls together wonderfully during some fun verses, and Fabienne joins along during a fun, soft chorus. It’s a very nice track and does a great job of alternating between speedy, intense melodeath passages, and more melodic folk sections. It’s an excellent indication of what to expect from the album.

I’ll divide the rest of the album into three categories, starting with the heavier, more melodeath focused tracks. First up, we have “A Cry in the Wilderness”, which starts out with nice folk instrumentation and percussion, before speeding ahead during some intense, fast-paced verses. It has a nice combination of folk instrumentation and heavy guitar work, and is a very heavy and fun track, with Chrigel delivering some epic growls, especially during the chorus. The most intense track, though, is “Mine is the Fury”, a short but absolutely brutal track, which has the most frantic, hardest hitting verses, as well as an intense, somewhat groove infused middle section. It does make use of some great folk melodies, but it’s a very hard hitting track, overall, and quite the fun one as well. A couple of tracks later is “Worship”, a track which has some epic folk melodies as well as some narration and it’s probably the most melodic of the Chrigel dominated tracks, but it’s still fast and very heavy at points, especially during the verses, while the chorus is more melodic, though Chrigel still delivers some very powerful, lower pitched growls, which work great. Lastly, we have “Threefold Death”, which has some beautiful vocals from Fabienne during soft passages at the beginning and near the end, but for the rest of its duration it’s rapid-fire, pulverizing melodeath track, with more very heavy guitar work, and epic growls from Chrigel.

On the softer side, there are three nice interludes throughout the album, which are mostly pure Celtic folk, and transition nicely between full-length songs. The first softer full-length song is “The Raven Hill”, which is one of the purest folk metal tracks on the album, with some nice Celtic folk melodies laying the backdrops for a more relaxing, though still intense track. Chrigel growls during the verses, while Fabienne delivers some nice vocals during the chorus, as well as during the intro, and it’s a very melodic, very beautiful track overall, with some especially great folk instrumentation throughout the track. One particularly unique track is “Ambiramus”, a fun, more pop-ish track with some very danceable melodies, as the folk instruments have a catchy, almost electronic sound to them, that is only really noticeable on this track. it’s a soft track, with slow verses and a very upbeat, extremely catchy chorus where Fabienne delivers some of her most powerful and inspired vocals on the entire album. It was definitely a great choice for a single and is one of the best songs on the album. Near the end of the album, “Breathe”, is another very beautiful track with a heavy focus on folk melodies. It does have some heavy guitar work, especially during the instrumental section in the second half, but it’s a slower paced, very melodic track overall, where Fabienne really gets to showcase her smooth and beautiful, yet very powerful voice. It could end up being one of the less liked tracks on the album, but it’s actually one of my personal favorites, due to how relaxing and catchy it is, as well as how amazing the vocals are throughout. Lastly, the album closes off with Eclipse”, a soft outro type track, which takes the main melody and lyrics from the previous track, “Rebirth”, and allows Fabienne to run with it, resulting in another stunning vocal showcase.

While both the heavier and softer tracks are amazing, the tracks that strike a balance between the two tend to be among my favorites. First up, following the title track and an interlude, is “Deathwalker”, a track which has some very heavy, slightly metalcore infused guitar work during the verses, while still having some beautiful folk melodies, as well as a very fun, upbeat chorus where both vocalists work together wonderfully. Similarly, “Black Water Dawn”, does an excellent job of alternating between heavy and softer passages, especially during the chorus, while the verses move along a decent, but not an overly fast pace, and have some intense growls. The chorus, though, is very melodic and gives Fabienne some room to work with, while the instrumental section in the second half is heavy, intense and really cool. On the softer side, but still having some intense growled sections is “The Slumber”, which has some more excellent folk melodies throughout, and it’s a slower, very calm track overall, with some heavy growled parts during the verses, and some beautiful, soft melodies during the chorus, which is dominated by clean vocals. The last full-length song on the album is “Rebirth”, which is the first song releases from the track, but it came out about a year and a half ago, so it’s hard to really call it a lead single. If anything, it initially served more like a tease at what fans could expect to hear from the band in the future. Either way, it’s an absolute stunner of a track, and probably my favorite on the album, again alternating wonderfully between speedy melodeath sections, with a slight touch of metalcore during some slower, pounding sections, as well as a very melodic chorus, where Fabienne gets to shine. The instrumental section in the second half is absolutely epic and spectacular, while the ending is also perfect and serves as a great lead into the aforementioned closing track, which ends the album wonderfully.

When Eluveitie announced their major lineup changes a few years ago I was concerned, and wondered whether they would be able to retain their high quality, but now that I’ve heard Ategnatos, I’m very pleased to say the band has stormed back in a wonderful way, producing possibly their best, most dynamic release to date! It strikes a perfect balance between their classic melodeath elements, as well as their epic Celtic folk sound, and it serves as an excellent full debut for new vocalist Fabienne Enri, while still allowing frontman Chrigel Glanzmann to shine as much as ever before. Longtime fans of the band should be pleased with the album, while fans of either folk or melodeath are highly recommended to give it a listen, as it’s likely to be among the best albums from either genre released this year.

originally written for myglobalmind.com: https://myglobalmind.com/2019/04/06/eluveitie-ategnatos-review/

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