Thirty years and eleven albums for Månegarm.
Originally formed under the name Antikrist in 1995, the band, now led by Erik Grawsiö (bass/vocals), Markus Andé (guitar), and Jacob Hallegren (drums), unveils Edsvuren in collaboration with Napalm Records.
Tobias Rydsheim (guitar, Wormwood), Liv Hope Lenard (vocals, Fredlös), Ellinor Videfors (vocals), Lea Grawsiö Lindström (vocals), Janne Liljeqvist (flute, Två fisk och en fläsk), and Martin Björklund (violin, Mercury X) are also credited on certain tracks.
The first track to strike is I skogsfruns famn, a fairly catchy composition that honors the band’s pagan roots while remaining fairly raw, and where the vocalist even offers a duet with his daughter on backing vocals on the choruses, contrasting with the usual roars. The track would be perfect for opening shows, while I can see Lögrinns värn fitting better in the middle of a setlist, further uniting an audience already won over by their sound and frantically headbanging to the motivating heavy influences. The track even offers a fairly gentle break before launching into furious lead sections, then on En blodvittneskrans, where the vocals herald devastating, jerky riffs launched at full speed that will quickly trigger headbanging sessions among fans. One last visceral scream, then the sound of waves welcomes us to Rodhins hav, a ballad where Ellinor and Erik respond to each other with a soft, clear melody, then Till gudars följe resumes with a slightly more playful rhythm that contrasts with the hoarse vocals. The track is also acoustic, but the saturation returns, laden with melancholy, for En nidings dåd and its heart-rending cries, offering a tone that is quite different from usual, aided by a violin solo, then the atmosphere becomes a little more martial again with Hör mitt kall, retaining the haunting melodies. The double kick ignites the track towards the middle and confirms the return of rage, which is once again softened by the slow I runor ristades orden, where Ellinor recounts her short, soothing ballad accompanied only by an acoustic guitar. The warlike tones resurface on Skild från hugen, mixing devastating instrumentals and beastly screams, coupled with a few clear parts, including those on the break, which allow us to catch our breath before resuming the heavy march. We feel literally galvanized by the regular beats of the track before accelerating again with Likgökens fest, which remains in these epic tones that are as catchy as they are infused with pure rage, perfectly conveyed by the vocalist between the motivating choruses, especially on the final. Edsvuren takes over, returning to pure folk with Liv’s expressive voice guiding our minds, sometimes joining Erik before leaving him in charge, and finally closing the album with the ritualistic Ofredsfylgjor, where several voices blend together to accompany us to the album’s final notes.
As usual, Månegarm knows how to satisfy both fans of wild pagan tracks and those who prefer the gentleness of folk. The rhythm of Edsvuren is relatively well managed, allowing for explosive passages as well as moments of contemplation.
80/100