And I mean come on! Look at that gnarly friggin’ cover art! While it can never be questioned what Ensiferum‘s contribution to the world of Folk Metal has been, it’s also fair to look at the band’s earlier work and wonder what the message they were trying to send the world was with their first string of album covers. Lots of white-bearded dudes, just kinda standing around in fantastical landscapes. At least on Victory Songs they had him looking pretty mighty on horseback, but honestly it all sorta looked like some medieval warrior showing slides of his vacation around Middle Earth.

Does cover art actually matter to the quality of work on an album? I mean, no. Obviously not. But I think it’s fair to say it can serve as a real tone-setter, and Winter Storm, I reiterate, is clearly not fucking around. This dude and his wolf friend? They’re tearing fools apart. They’re on the war path. They’re clearly making it a problem for these jamokes that they decided to wake up today.

And right away on “Winter Storm Vigilantes,” Ensiferum is hitting with the heavy artillery. Mighty-as-fuck guitar melodies ring in the track with a confident burst, with Petri Lindroos deploying all his tricks of the trade with familiar raspy vocals, and Pekka Montin’s soaring Power Metal singing leading the troops into battle. But it’s when the band launches into it’s ferocious trademark thrash folk riffing that it all becomes clear that the band is ready to take it full throttle. Fire up the circle pits and strap for battle because by the time Ensiferum launches into their full-band-backed chanting I’m about ready to burst through some wall of ice, swords blazing and ready for blood.

After the band flexes it’s more Power Metal-focused muscles on “Long Winter of Sorrow and Strife,” “Fatherland” lays back down on the accelerator with more ferocious riffing, and an all-timer of a chorus that, though I’m sure some weird war-painted right-winger will try to use this to make some overtly racist video edit on YouTube (we obviously can’t have nice things), should bring a welcome swell of vigor and might to any listener’s chest. It’s a doozy you just can’t help but sing along with, probably whilst raising some stein of beer or mead in celebration.

The sense of growth and confidence in the band’s songwriting is shown in spades on the more melancholy but really lovely “Scars in my Heart” (featuring Madeleine Liljestam of Eleine) which has the band throwing down a heart-wrenching tale of love lost and tragedy (that’s right it’s not all fields of battle and glory here, heathens). Even the more mid-paced “The Howl” (which, funnily enough, with it’s catchy keyboard melodies doesn’t sound so far removed from a Powerwolf track) is delivered with such confidence and strong songwriting that once again you can’t help but get just as whipped up in its powerful charm. If you’re not indoctrinated into the Ensiferum army  by the time album closer “Victorious” comes marching through your headphones or speakers, I’m sorry to say there’s no resistance. You’re going to war whether you like it or not. A clear throwback sledgehammer, this is the kind of metal anthem that we all knew Ensiferum perfectly capable of, but will no less get your dead heart racing with Heavy Metal pride.

The gauntlet thrown down with Thalassic as the band’s sort-of reinvigoration has proven to be just the start of Ensiferum’s reclamation of the Finnish Folk Metal throne. The vets have come back swinging and thoughts in prayers to any who dare step in their way. My soundtrack for the oncoming, inevitable fury of another northern winter has dropped just in time, and damned if I’m not good and ready to face it head-on.

But since that booming heyday of Folk Metal’s glory day, it’s been a bit of a mixed bag. It may be one thing for a band to begin integrating folk elements to expand their own boundaries, but where do you go when you start squarely in the realm of fiddles, tin whistles and accordions? When your starting point is already a little bit “out-there” for metal, how do you progress?

Well, for one of Folk Metal’s more (relatively) consistent and successful acts, Finland’s Ensiferum took a more cautious approach toward change and experimentation, with later albums seeing the band seeming to attempt to take a more “mature” and “serious” approach to their sound, starting most notably on 2012’s uncharacteristically moody and mid-paced Unsung Heroes. Perhaps wondering if maybe they took things too far in that direction, the band returned three years later with One Man Army, bringing back a bit more of the more rollicking nature of their earlier work, but adding some… uh… quirky elements to their arsenal, most notably on the song “Two of Spades” which featured… there’s really no other way to put this… a disco-folk break mid-way through that, in what I believe was an attempt to be fun and cheeky, just came across as weird and ill-fitting. 2017’s Two Paths saw the band seeming to get the ship at least pointed back in a better direction, with more of an emphasis on frolicking, folky fun that made their earlier work so good, although not without its own bit of awkward growth – this time showing a greater willingness to run with clean vocals. This in and of itself isn’t an inherently bad thing, but the cleans just felt unpolished and not quite sure of themselves here.

I know it took me a long time to get to this point, but here’s the ultimate upshot to all this backstory: On Thelassic, Ensiferum have taken the lessons learned from an entire catalogue’s worth of successes and misses, smoothed out some of the jagged edges, and have finally put everything together into one complete, thoroughly entertaining and impressive album that, to me, is absolutely their best work yet.

First thing’s first – they certainly haven’t left the fun behind on this one – the album’s first proper track, “Rum, Women, Victory” serving as a prime example of what happens when these guys are able to put the whole package together. Wonderfully epic and infectious melodies, a super fun, sing-along hook, and some serious musical ability on full display has this album kicking in the door and blasting your skull with a 10 mega-ton hammer blow right from the jump. And credit where credit is due, the clean vocals (from new keyboardist Pekka Montin) on this track, and throughout the entire album, have been MASSIVELY improved, making for a truly enjoyable component to the band’s already vast repertoire.

I also love that the band seems to have simplified how they utilize their folk elements. They haven’t tried to make folk-disco or folk-funk or any other monstrous concoctions, they’ve just stuck to the basics and let the folk influences flow much more naturally into the song structures and melodies. As a result, songs like “Andromeda” and “For Sirens” carry a distinctively Amorphis-like vibe that totally make the more emotional moments on this album feel more deep and sincere. They also help create a beautiful balance to the more upbeat, bombastic tracks like “The Defense of the Sampo” and “Run From the Crushing Tide” that are more purpose-built for the kind of crowd-pleasing energy that has always made this band such an engaging listening experience. Conversely, the more folk-forward “Midsummer Magic” still manages to avoid feeling silly or misplaced – it’s a fun, beer-swilling, grab-your-buddy-and-sing-along tune that would feel right at home in some middle earth pub’s jukebox.

Ensiferum have pulled off a clever trick here – they’ve managed to blend the mead-chugging fun of Korpiklaani, the technical wizardry of Wintersun, and the epic might of Moonsorrow into one cohesive, expertly crafted package. They’ve managed to find that Amon Amarth sweet spot of being able to be sort of all things to all metalheads – a legit display of metal mastery, with enough accessibility to make this a truly memorable, lovable record. Grab your drinking horns, don your shields, and get those fists pumping in the air, friends! Ensiferum have made a truly awesome folk metal masterpiece.

However, things seem to be back to normal, and a couple of things may have reawakened my inner Viking — first the latest album, Rastlos from German act Finsterforst, is about as epic as anything you’ll ever hear, triggering my folk metal gene into action.  Second, on a recent crisp fall evening I was running naked through the woods with a pack of wolves, howling and covered in blood from a fresh kill (OK, I was walking my dogs), when “In My Sword I Trust” came on my iPod, and before I knew it, I was belting out the climatic final orchestral chorus at the top of my lungs and I realized Ensiferum are still as good as they ever were.

Even though the band’s formula is rigidly in place; polished, bouncy power metal with harsh blackish vocals, sweeping folky synths and soaring choruses, leading to criticism that the band is recycling the same album over and over, the fact is, the band simply deliver that style perfectly. Even in their post Jari Mäenpää (Wintersun) era, the band has succeeded is delivering that sound, and on Unsung Heroes, expect no less as this is Ensiferum.

Ultimately, readers have probably purchased Unsung Heroes or not already, and my review certainly isn’t going to convert any Ensiferum haters or deter the band’s fans. However, I should make both aware that amid all of the rather typically, enjoyable if samey Ensiferum-isms (“In My Sword I Trust”, “Burning Leaves” , “Retribution Shall Be Mine”, etc) contained on Unsung Heroes, a few moments jumped out at me. Emmi Silvennoinen once again makes her vocal presence felt, as well as her synths, with a very nice little clean ditty called “Celestial Bond” and a duet with Petri Lindross on ballad  “Star Queen”. She brings a soothing element to the normally high octane pace of the band and elegance that’s tangible. Also, believe it or not Ensiferum,  5 albums into their career somehow mange to deliver  2 or the most epic tracks of their discography.

First, the full on choirs of “Pohjola” are simply rousing as fuck (and they also make an appearance to spruce up an otherwise dull ballad in “Last Breath”) and the track also features a regal voice actor who appears to be the Finnish equivalent of Max Von Sydow. Second the closing track, the oddly named “Passion Proof Power” is the longest track the band has ever penned and is also the most epic they have delivered, and might be the second most epic folk track of 2012 behind Finsterforst‘s “Ein Lichtschein”. It’s 16 friggin’ minutes long and is just ridiculous in its stirring scope and majesty starting with a steady Viking sway teasing a restrained ballad type track, then takes a big deep, relaxing orchestral breath  before exhaling with a surprising but cool, proggy Amorphis tangent and finally an expected shred filled gallop and symphonic climax.

Ultimately, Unsung Heroes, for all its worth is another solid Ensiferum album, nothing more nothing less. If you don’t like their particular brand of cheese, this album won’t change your mind, but, if you’re like me and you find them to be one of the top bands of this style around, then you’ll find Unsung Heroes another quality addition to their familiar sound.

Of Finland’s gamut of bouncy folk and black metal infused power metal (Turisas, Falchion, Wintersun, Korpiklaani, Finntroll, early Moonsorrow, etc), Ensiferum are arguably the most epic and on From Afar, the ante for epic, keyboard drenched, grin inducing cheese filled metal has one again been raised. As well as the bands perfectly tempered, high octane, rousing metal, the addiction of Silvennoinen’s more prominent and orchestral synths (which are a little less folky and ethnic and more movie score) as well as her well placed, ethereal clean vocals, From Afar takes epic to whole new levels of guilty pleasure.

After intro “By the Dividing Stream” look no further than the stunning title track for  simply giddy levels of pure epic, with a simply amazing choral chorus that gives me goosebumps upon every listen. From there on the album just oozes majesty and simply rollicking metal that should make the most ardent, stern death metal head want to paint his or her face blue and fight stuff.

From the aforementioned title track to the two vast, more restrained, 10 plus minute tracks,”Heathen Throne” and “The Longest Journey (Heathen Throne Part II)” (both with typically rousing segments) and the typically energetic, bouncy numbers in between (“Twilight Tavern”, “Elusive Reaches”, Smoking Ruins”), From Afar simply personifies epic and the ability the Fins have to make epic, metal and cheese blend together so perfectly and enjoyably. Of note is “Stone Cold Steel”, a slight departure from the band’s typical sound with a Wild West/Ennio Morricone tangent (an element Ensiferum flirted with on Iron’s title track and “Ferrum Aeternum”, complete with banjo, trumpet and ‘The Good, the Bad and the Ugly’ styled whistling) – that has to be heard to be appreciated.

The whole album is wrapped in polish and confidence that the Fins seem to be able to do in their sleep making From Afar an enjoyable, easy listen that simply amuses and enthralls all at once.

Top 10 material for sure.

View the stunning new video here:

http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=451309518&blogId=508701426

In related news, ENSIFERUM will embark on a full North American headlining tour this November. Support will be provided by Hypocrisy, Ex Deo, Blackguard and Swashbuckle (on select dates). The trek begins on November 6th at Jaxx in Springfield, VA and concludes on December 5th at Irving Plaza in New York City and will include a stop at the eclectic Anti*Pop Music Festival in Central Florida which plays host to indie acts from all over the world.ENSIFERUM w/ Hypocrisy, Ex Deo, Blackguard and Swashbuckle
11/06/2009 Jaxx – Springfield, VA w/ Swashbuckle
11/07/2009 Crocodile Rock – Allentown, PA w/ Swashbuckle
11/08/2009 Volume 11 – Raleigh, NC
11/09/2009 The Masquerade – Atlanta, GA
11/10/2009 – Culture Room – Ft. Lauderdale, FL
11/11/2009 AKA Lounge (part of the Anti*Pop Music Festival) – Orlando, FL
11/13/2009 Meridian – Houston, TX
11/14/2009 Emo’s – Austin, TX
11/15/2009 Ridglea Theatre- Dallas/Ft. Worth, TX
11/17/2009 Galaxy Theatre – Santa Ana, CA
11/18/2009 Key Club – Los Angeles, CA
11/19/2009 DNA Lounge – San Francisco, CA
11/20/2009 Hawthorne Theatre – Portland, OR
11/21/2009 Studio Seven – Seattle, WA
11/22/2009 Rickshaw – Vancouver, BC
11/23/2009 Warehouse – Calgary, AB
11/24/2009 Starlite – Edmonton, AB
11/26/2009 The Zoo – Winnipeg, MB
11/27/2009 The Rock – Minneapolis, MN
11/28/2009 The Rave – Milwaukee, WI
11/29/2009 House of Blues – Chicago, IL
11/30/2009 Peabody’s – Cleveland, OH
12/01/2009 Opera House – Toronto, ON w/ Swashbuckle
12/02/2009 Imperial – Quebec City, QC w/ Swashbuckle
12/03/2009 Medley – Montreal, QC w/ Swashbuckle
12/04/2009 The Palladium – Worcester, MA w/ Swashbuckle
12/05/2009 Irving Plaza – New York, NY w/ Swashbuckle

Swedish death metal legends HYPOCRISY are readying to release their highly anticipated new full-length, A Taste Of Extreme Divinity. The record will mark the band’s their first full-length since 2005’s Virus. Commented frontman Peter Tagtgren on the record: “We’re happy of the result so far; its got everything a HYPOCRISY album should have in our own point of view. We will release it October 23rd (Europe) and November 3rd (North America) and start touring in the USA, supporting ENSIFERUM!”

Roman-themed death metal troop EX DEO, featuring members of Kataklysm and Blackguard, will be touring in support of their recently issued debut Romulus. “I would like to thank everyone from the ENSIFERUM camp for this generous invitation,” said mainman Maurizio Iacono. “We cordially accept the offer, but make no mistake: Rome bows to no one and our American legions are growing rapidly. We come for blood and we shall take no prisoners and in the great words of Caesar, ‘Vini, Vidi, Vici,’ and this is what we intend to do in November.”

Added BLACKGUARD vocalist Paul Ablaze: “We had such a blast with our Finnish brothers ENSIFERUM on the Summer Slaughter tour that a second round seems appropriate. Magnified by the legendary HYPOCRISY and our friends in the Roman legion of EX DEO, this will be the show to see this late fall.” The folk-influenced progressive metal act is currently celebrating the release of their debut, Profugus Mortis.

ENSIFERUM’s From Afar is scheduled for a US release on September 8, 2009 (September 9th for the rest of the world) via Spinefarm Records. The CD was produced by Tero Kinnunen (Nightwish, Amorphis) and Janne Joutsenniemi, who produced the band’s previous offering, Victory Songs and mixed by Hiili Hiilesmaa (HIM, Sentenced, Amorphis).

Finalized tour dates to be announced soon. Stay tuned!

http://www.myspace.com/officialensiferum
http://www.myspace.com/hypocrisy
http://www.myspace.com/exdeo
http://www.myspace.com/blackguard
http://www.myspace.com/spinefarmrecordsus
http://www.myspace.com/nuclearblastusa
http://www.myspace.com/sumerianrecords

The band is currently on the road on the 2009 North American edition of the Summer Slaughter Tour with Necrophagist, Suffocation and Darkest Hour, among others.
Summer Slaughter Tour 2009
7/06/2009 The Whisky – Calgary, AB
7/07/2009 The Knitting Factory – Spokane, WA
7/09/2009 First Ave – Minneapolis, MN
7/10/2009 The Rave – Milwaukee, WI
7/11/2009 Dirtfest – Birch Run, MI
7/12/2009 Phantasy Concert Club – Cleveland, OH
7/13/2009 House of Blues – Chicago, IL
7/14/2009 Bogart’s – Cincinnati, OH
7/15/2009 Sound Academy – Toronto, ON
7/16/2009 Medley – Montreal, QC
7/17/2009 Northern Lights – Albany, NY
7/18/2009 The Palladium – Worcester, MA
7/19/2009 Irving Plaza – New York, NY
7/20/2009 Irving Plaza – New York, NY

http://www.ensiferum.com
http://www.myspace.com/officialensiferum
http://www.myspace.com/spinefarmrecordsus