For those unfamiliar with Vintersorg, the band’s output can be described as folk/pagan metal with twinges of black metal dabbed in, all the while never lacking in unique melodies or soundscapes. There is an overwhelmingly organic quality to Vintersorg‘s music, which is intriguing considering the group’s overt use of keyboards and a drum machine. Perhaps it’s a combination of the simultaneously real yet otherworldly voice of Mr. V (otherwise known as Andreas Hedlund or the guy who replaced ICS Vortex in Borknagar) and the expert welding of organic and synthetic sounds that lends to create music that seems as though from both the earth and the skies. Rooting in blackened folk metal, Vintersorg‘s material took an experimental, progressive twist toward the middle of the band’s career, but has since careened into a comfortable groove that houses both effortlessly.

With Jordpuls, the first things noticeable to the trained ear are the signature folk flourishes and intricately and intelligently written songs. It is also hard to avoid the album’s similarity to, yet growth from, Solens Rotter, and its overall uplifting spirit. Specifically with tracks such as “Klippor Och Skär,” “Mörk Nebulosa” and “Skogen Sover,” gorgeous soaring melodies are prevalent, and others, including “Världsalltets Fanfar” and “Till Dånet Av Forsar Och Fall,” showcase a strong attachment to classic Vintersorg ideals — harsh moments of black metal, folk-inspired guitar work and flowing progressive movements.

Perhaps the best aspect of Jordpuls is the ability of all its components to work together fluidly and effortlessly. The incredible amount of detail poured into each section of any given track from Jordpuls, whether it be the keyboard or vocal layers, drum fills or guitar patterns, is a testament to the dedication shown by the members of Vintersorg. After years upon years of creating detailed and visionary music, it really is no surprise that Mr. V and Mattias Marklund have gotten all the kinks twisted, oiled or ironed out, though. It’s quite a good thing that the men behind the music spent time seeking out and traversing roads less traveled, picking up fragments of their journey along the way, ultimately to return to the road leading home wiser and more familiar with its bumps and grooves than ever before.

Well, apparently Hedlund’s time in Borknagar has rubbed off, as Solens Rötter (roughly meaning ‘origin of the sun’) does in fact see a return to the band’s more organic, folk based ambience and synth work of Till Fjälls and Ödemarkens Son, but manages to cleverly meld it with the more progressive and cerebral guitar work of Cosmic Genesis, Visions From the Spiral Generator, and The Focusing Blur.

The end result is an album of almost progressive and experimental folk/black metal that of course with Hedlund’s hypnotic pipes, delivers and warm yet challenging and introspective listening experience. The blending of the old and the new occurs in several facets; either symbiotically within each track such as brilliant duo of opener “Döpt i en Jökelsjö” and “Spirar Och Gror” as well as “Idétemplet” and “Naturens Mystär” or separately as ‘modern’, prog heavy tracks suck as “Perfektionisten”, “Från Materia Till Ande” and “Kosmosaik” vie with more traditional sounds of “Att Bygga En Ruin”, “Strålar” and instrumental closer “Vad Aftonvindens Andning Viskar”.

Of course the main draw is Hedlund’s silky smooth voice, and with a seemingly increased presence of blackened rasps amid the expected hymnal tones, the album feels far more complete and more, ‘metal’ while retaining all of old and new Vintersorg’s trademark elements. The end result is the best Vintersorg album since 1999, though it’s still no Till Fjälls.

With that said, Visions from the Spiral Generator is a step backwards from Cosmic Genesis. On Cosmic Genesis, songs like “Astral and Arcane,” “Ars Memorativa,” “The Enigmatic Spirit,” and the title track contained clean vocal, soaring choruses matching the expansive lyrical content. This was backed by enough solid riffing, structural changes, measured melodies, and the tinge of black metal to evoke a dream of mystery. In Visions from the Spiral Generator, these clean vocal choruses and more experimental aspects are unfortunately more weakness than highlights. The black metal riffs and growls have strengthened on Visions, but there is not enough of that strength and it’s not really what makes Vintersorg so special anyway. Furthermore, the music and vocals seem disconnected and segmented at times, with one apparently implanted on the other without holism.

“Vem Styr Symmetrin” begins with an appropriate thunder, but loses its energy somewhere along the way. “Universums Dunkla Alfabet” also begins promisingly and even seems to flirt with greatness, but ultimately fails to connect and loses me with its campy chorus. “E.S.P. Mirage” is the low point for me when Vintersorg’s mysticism for the first time comes off as tacky with an awful chorus and a pseudo-cosmic guitar and keyboard opening. “A Metaphysical Drama” and “Spegelsfaren” are two of the stronger cuts on the release, but they also do not quite compete with Cosmic Genesis classics. “A Star-Guarded Coronation” contains interesting keyboards, a nice guitar solo, and good chorus, but it comes as too little too late.

Despite the letdown, it’s still a joy to read Vintersorg’s lyrics which are indeed themselves music to my ears. Not pretentious, random, or whimsical, Vintersorg’s words are coherent, insightful, questioning, and appreciative. They discuss and dissect cosmology, physics, and metaphysics with poetic swirls and in relation to human experience. Indeed, they hold a special place in artistry and metal music. Thus, it pains me to say anything negative about Vintersorg. His work is worthy of accolades and appreciation, deserving far more attention than he seems to gain. I encourage listeners to check out Vintersorg’s body of work, just don’t start out with Visions from the Spiral Generator.