Vanvidd, “Avlivsritualer”

I first stumbled upon Vanvidd at Midgardsblot 2022. I remember hanging out around the common area, intending on taking a breather for a few sets, but hearing the sound of troll-ridden Norwegian folk metal even from a distance drew me back to the stage like a moth to a flame. I ended up hanging out for the rest of their set, and they became one of my favorite acts of the year.

Hailing from Agder, what pulls me in with Vanvidd’s folk metal style is their unique and conscientious focus on 19th century romanticism and folklore which I have previously only gotten from Finntroll, and TrollfesT’s 2019 Norwegian Fairytales. Considering this is the century that gave the world Asbjørnsen and Moe’s internationally acclaimed Norwegian Fairytales (as well as Edvard Grieg, Theodore Kittelsen, Henrik Ibsen, and Edvard Munch, just to name a few), this era is rich with potential inspiration to draw from.

But don’t be fooled - over their last two records, Vanvidd has proven time and again that they are not simply a 19th century gimmick band. Far from it – in either record you will find a high standard of both composition and musicianship that breathes a breath of fresh air into the perpetually-moribund style of folk metal (look no further than their very first track, “Brønnsgubben”, off of their debut Vanvidd) while also daring to add more progressive elements into the typically conservative expectations of the style. It's for all of these reasons that I’ve been greatly anticipating the release of Vanvidd’s third album, Avlivsritualer (death rituals), which released independently on May 30th. Not with the expectation of hearing more of the same, mind you, but seeing how this band has continued to develop its blackened-folk metal sound and expand its discography nearly a decade after their debut record.

Avlivsritualer wastes no time getting the listener right into the action with “Mareheim”. The track opens with an onslaught of crashing drums, open riffing, and a subtle horn section establishing a massive sound before an acrobatic guitar lick transitions seamlessly into a drunken, swaggering verse in ¾ - a nice metrical nod to Norwegian dance. What I love about this track is that it never lingers on one idea for too long, without also seeming disjointed. The highlight here is the breakdown with the fiddle and the use of orchestra – both aspects of the album’s writing which will keep returning to the forefront.

“Burning Oceans” continues with a groovy rhythm accented with great symphonic touches (the oboe work from guest musician Daniel Nystad really nails the aesthetic) and yet another great fiddle break which transitions into a classic folk metal style guitar solo. The piano work here is a great addition as well. “Deepen These Wounds” is saturated with brutal, melodic riffs we all come to folk metal for, while “Liktorven” slows things down to a crushing dirge featuring yet another great fiddle solo. Reminiscent of old school Opeth, “Paling Lore” builds up the tension into the climactic title track, “Avlivsritualer”.

Living up to the expectations of a title track, “Avlivsritualer” distills all of the best aspects of the album: incredible orchestration, jaunty folk metal riffs, and a powerful cinematic chorus. We’re thrown a curveball toward the end, however, when the wall of sound gives way to a beautifully written clean backhalf which gives a moment of reflection and breathing room before the album closes with the 8 minute epic, “Glemselen”, even more rich with old school Opeth vibes (and featuring MÍO’s Hennie on flute).

Avlivsritualer shows Vanvidd at their most ambitious and symphonic, while also giving longtime fans more of what we’ve loved the band for over the last two albums. Not only is that essential folk metal style still at the skeleton of the band’s sound, but it isn’t afraid to try new things and to test the boundaries of what folk metal can be, putting the record in dialogue with the Afargang’s Andvake – the last album I reviewed. Folk metal is a style that is very near and dear to my heart, which is why its stagnation over the last decade or so has been at the forefront of my mind recently. But, with Avlivsritualer’s expansive orchestration, high energy, and dynamic pacing between tracks, along with guest musician Monika Boroni’s fiddling elevating the record’s sound to another level, I feel as though I can rest easy knowing folk metal seems to be in something of a new renaissance, with Vanvidd at the forefront.