Hello #Rennes
j'ai eu des billets pour l' #Heidenfest à l'Etage ce dimanche (avec notamment #korpiklaani #Finntroll #heidevolk #trollfest ) à Noël, et la personne qui devait m'accompagner peut plus
Ça branche quelqu'un de m'accompagner ?
[EDIT : la place a trouvé preneur, merci les gens 💜 ]
#NowPlaying #TheMetalDogIsNowPlaying
#Finntroll
Nattfödd
Routas Vaggvisa
🎸 Live Stream:
https://nowplaying.themetaldog.net/
YouTube Search:
https://youtube.com/results?search_query=Finntroll+Nattf%C3%B6dd+Routas%20Vaggvisa
LastFM:
https://www.last.fm/music/Finntroll/_/Routas+Vaggvisa
Listen on major platforms:
https://song.link/s/4GGJtJ4Cpk3LWCsnemNbuE
#Finntroll #SwedishFolkMetal #BlackMetal #FolkMetal #NordicMetal #SwedenMetal #Metal2010s #HeavyMetal
By Samguineous Maximus
More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests?
Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights.
According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided.
There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations.
Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.
Rating: 2.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Nuclear Blast Records
Websites: equilibrium-metal.net | facebook.com/equilibrium
Releases Worldwide: November 28th, 2025
#20 #2025 #avatar #electronicMetal #ensiferum #equilibrium #equinox #finntroll #folkMetal #germanM #melodicDeathMetal #metalcore #nov25 #nuclearBlast #orchestralMetal #review #reviews #rhapsodyOfFire
Tidal picking one after another great song
Morbikon – Lost Within the Astral Crypts
By Owlswald
When he’s not dealing in the Slime and Punishment of Municipal Waste or pissing off the neighbors with Iron Reagan, axe-wielder Phil “Landphil” Hall channels his focus into Morbikon. Formed in 2020, Hall’s black metal side-project earned recognition from AMG Industries when Ferox highlighted the supergroup’s debut, Ov Mournful Twilight, as his surprise record of 2022. Rooted in all things kvlt and trve, the album’s second wave frostbitten anthems plunged into the remnants of burned churches and stale corpse paint, resulting in “eight meloblack rippers calibrated to bring winter to your soul and whiplash to your neck.” Now, Morbikon’s sophomore LP finds Hall honing his homage to the black arts, promising to descend his creation into a deeper, more sepulchral state. Ignite your torch and prepare the Necronomicon—it’s time to get Lost Within the Astral Crypts.
Lost Within the Astral Crypts forges the scorched spirit of Ov Mournful Twilight into a leaner, more technical and overwhelmingly black entity. Drawing on the lineup’s pedigree, Morbikon’s collective talent coalesces into an authoritative, and at times downright impressive, synthesis of 90s-influenced blackened thrash. Vocalist Mathias “Vreth” Lillmåns (Finntroll, …And Oceans) returns with his characteristic throat-ripping vocals, as furious down-picked riffs and swarming, lightning-quick tremolodic scales consistently anchor the material firmly in the black. Complementing Hall’s stylish fretwork, drummer Pierce Williams (Ænigmatum, ex-Skeletal Remains)—who replaces Dave Witte—adds raw, destructive rhythms with tight rolls and syncopations that are both refreshing and sophisticated. Tracks like “Unending Legions of Baal,” “Masters of Eternal Night” and “Flames that Bind and Shadows Cast” evoke a full-on black metal assault reminiscent of Satyricon or Emperor, complete with pounding double bass and subtle synths, while “Ghoul Infested Mausoleum” and “Heavens that Burn and Eons Divided” push the envelope with airy Wintersun melodicism peppered with thrash savagery.
The necrotic might of Lost Within the Astral Crypts rests in Morbikon’s technical excellence, elevating the album’s eight tracks beyond the seminal Scandinavian sound. Worshipping at the altar of the almighty riff, Hall and company immediately demonstrate their capabilities on “Heavens that Burn and Eons Divided”—an energetic, fun and melodic banger driven by a potent layered tremolo attack, fantasy-toned leads and Williams’ tomb-raiding blasts that promptly underscore Morbikon’s technical ambition. “Ghoul Infested Mausoleum” features the record’s best tremolo riff: a spectral high/low scale progression imbued with nocturnal gravity, bolstered by Williams’ accented beats and Lillmåns’ gnarly shrieks. Shreddy, virtuosic solos on the title track, “Flames that Bind and Shadows Cast” and “Numeric Portal Ascendency” push Lost Within the Astral Crypts past the point of a stereotypical tremolo-fest, while strategic thrash and death explorations (such as the opening passage of “Flames that Bind and Shadows Cast”) help maintain listener interest before regrounding the album’s dark, aggressive roots.
Given Morbikon’s stellar execution and the album’s efficient 43-minute runtime—with little bloat to be found—any criticism must instead focus on Lost Within the Astral Crypts’ songwriting. “Masters of Eternal Night” is a serviceable track, but often clings too tightly to classic Scandinavian conventions (even adopting a familiar Mayhem-like conclusion), rendering it less engaging than the album’s superior cuts. “Sworn to the Beheaded King” briefly adopts a more aggressive, in-your-face death metal spirit at its midpoint, including a tasteful guitar solo. Yet, these highlights can’t mask the track’s conventionality as it quickly retreats to familiar black metal terrain. Although the monolithic presence of Lost Within the Astral Crypts occasionally falters in favor of genre conventions, stagnant sections (“Ghoul Infested Mausoleum,” “Flames that Bind and Shadows Cast”) and even some superfluous wankery (“Lost Within the Astral Crypts”), the underlying songwriting remains solid, with engaging riffs and hooks that are strong enough to largely sustain the album’s momentum.
Lost Within the Astral Crypts is a worthy reinvention of a well-trodden sound. While the album is certainly not groundbreaking—nor is it trying to be—it demonstrates top-notch musical dexterity and delivers exceptionally well-executed material that is aggressive, dark and steeped in 90s nostalgia. At its weakest, Lost Within the Astral Crypts serves as a grim invitation to exhume those second-wave classics from your collection; at its strongest, it stands as a fun, rock-solid blackened thrash record that advances and validates Hall’s creative vision, confirming Morbikon’s vast potential.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Tankcrimes
Websites: instagram.com/morbikon | facebook.com/morbikon
Releases Worldwide: November 21st, 2025
#andOceans #2025 #30 #aenigmatum #americanMetal #blackMetal #emperor #finntroll #ironReagan #lostWithinTheAstralCrypts #mayhem #morbikon #municipalWaste #nov25 #review #reviews #satyricon #skeletalRemains #tankcrimes #wintersun
"Oh.. isn't this the singer from #Finntroll?" #andOceans
Finntroll - Trollhammaren, Accordion cover
https://peertube.ichigo.everydayimshuflin.com/w/rxG847Tweyb5avjPKJkqC4
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KORPIKLAANI, FINNTROLL, HEIDEVOLK, TROLLFEST And THE DREAD CREW OF ODDWOOD Announce Heidenfest 2026 Tour Dates For Europe And UK
#KORPIKLAANI #FINNTROLL #AnnounceHeidenfest #tour #announcement #BraveWords #metal #music
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FINNTROLL Frontman MATHIAS ‘VRETH’ LILLMÅNS Opens The Vault, Releases Long-Lost Tracks From His Formative Years
#FINNTROLL #MATHIAS #Frontman #OpensTheVault #newrelease #EP #BraveWords #metal #music
Charting the course to 2026: reflecting on 70000tons of Metal 2025 Artist Spotlight: Finntroll:
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Hadeur
greg
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