Nothing can stop Avatar.
It took the band nearly twenty-five years to evolve from a small Swedish Melodic Death Metal band to the headlining act we know today. In 2025, Johannes Eckerström (vocals), Jonas Jarlsby (guitar), John Alfredsson (drums), Henrik Sandelin (bass), and Tim Öhrström (guitar) unveil their long-awaited tenth album, Don’t Go in the Forest, via their own label, Black Waltz Records.
The album kicks off with military tones on Tonight We Must Be Warriors, a track that will allow the band to open their upcoming live shows with a new anthem that is accessible and unifying for both the musicians and the audience. The cheerful leads perfectly accompany the vocalist, but it is with In The Airwaves that we find the heavy and aggressive groove that we love about the Swedes, as well as Johannes‘ characteristic saturated vocals, which give personality to the riffs. The contrast with the softness of the choruses gives rhythm to the track, which joins Captain Goat and its catchy slowness tailored for the stage, letting the guitars bring a touch of melodious melancholy while the vocalist alternates his voices. but the track quickly moves on to the theatrical and eponymous Don’t Go in the Forest, where the band returns to its dark stories, which fit perfectly with the release date (Halloween). We continue with the bouncy Death and Glitz, which sounds very cheerful thanks to the singer’s cries, but which fits very well with his clear voice. Then the band speeds up again on Abduction Song, where we find the rage of their early days contrasted with backing vocals, creating a rather interesting and eclectic mix. The more aggressive final leaves us with Howling at the Waves, which begins with a ballad-style piano intro, offering the gentle Post-Rock interlude we needed, even including a solo between guitar and synths before reaching Dead and Gone and Back Again. Although the track doesn’t take off immediately, it offers a rather mysterious aura between dark groove and discreet guitars that continues even during the much more expressive chorus, but it explodes during the break, then its softness abandons us to Take This Heart and Burn It, which regains its infectious energy. Blast beats and virulent riffs are obviously present, but the band doesn’t fail to expose us to its ever-effective madness. However, the track is ultimately quite short, leaving Magic Lantern to illuminate the final moments of the album with disturbing, then massive, violent, calm, intriguing tones, and finally silence.
To say that Avatar has evolved further would be an understatement. Now far removed from its roots but asserting a contagious madness, the band shapes its songs for the live experience on Don’t Go in the Forest, and each one has its own personality that the band will be happy to compose with in the future.
70/100