MetalMusicArchives.com — the ultimate metal music online community, from the creators of progarchives.com
Folk metal is a sub-genre of heavy metal music that originated in Europe in the early 1990’s and has since become more widespread. Folk metal, as the name suggests, is a fusion between various heavy metal styles and folk music. English band Skyclad is often credited for being the creators of folk metal for their 1991 album The Wayward Sons of Mother Earth, which featured a full time violinist alongside the more commonplace metal band setup of vocals, guitars, bass and drums. Many artists have since greatly expanded on the use of such instruments, with mandolins, banjos, flutes, whistles, bodhráns, hurdy gurdy and more all being featured in various folk metal releases.
There is no standard as to which metal genres can be merged with folk music to create folk metal, with bands ranging from more traditional heavy metal influences to extreme metal, with black metal being a common choice. Likewise there is no standard on how the folk influences should be utilised within a folk metal band. Mostly notably folk metal bands may or may not incorporate traditional instruments such as violins or tin whistles alongside the metal instrumentation. Some bands prefer to rely solely on keyboards to create a folksy atmosphere in their music (such as the first two albums by Russian band Arkona), while others prefer to play folksy lead melodies on electric guitars (such as German band Wolfchant and Norwegian band Storm). Because there are no standard norms for either side of folk metal it has grown considerably since the release of The Wayward Sons of Mother Earth to become one of the most diverse metal genres to exist. Bands can now range from the melodic to the extreme.
Since the genre's genesis, several regional variants of folk metal have also developed, the most notable being Celtic metal, Medieval metal and Oriental metal. The bands Cruachan (from Ireland), Subway to Sally (from Germany) and Orphaned Land (from Israel) are considered to be among the pioneers of each style respectively. While sometimes included under Oriental metal, metal music that makes use of folk elements from Eastern Asia is sometimes considered a folk metal subgenre of its own or distributed among other metal genres. For instance, Tang Dynasty and Fu Xi are both known for incorporating traditional Chinese instrumentation into their music, but the former are normally considered a traditional heavy metal band while the latter are considered a doom metal band.
Yet more terms have been coined that are commonly associated with folk metal: Viking metal and pagan metal. These terms however, while they can refer to folk metal, can just as often refer to another style entirely, the other style often being black metal. Terms such as these are usually used in regard to an artist based on their lyrical themes, rather than the sound of their music and as such artists labelled as such can sound very different from each other.
Folk metal has also often been crossed with other established genres of metal music to form distinct hybrids between two metal styles, where the folk influences may or may not be present in every song the artist writes, such as the power metal act Falconer. It is also not uncommon in modern metal music for folk influences to crop up as a rare occurrence such as in an introductory instrumental or even in a regular song.
The genre has become increasingly popular among metal fans over the years, reaching new heights in the 2000’s. Today folk metal bands hail from all over the world, although the genre itself remains most popular in Europe. Many bands have gained widespread attention from the metal press with bands such as Korpiklaani, Ensiferum and Finntroll numbering among the world’s most successful folk metal bands as of 2011.
Inclusive Folk Metal GenresCeltic Metal is folk metal that draws specifically on Celtic folk music as a source for it's folk elements.
Medieval Metal is folk metal that draws specifically on medieval music as a source for it's folk elements. It is common for Medieval Metal bands to sing in German.
Oriental Metal is folk metal which draws influence from Middle-Eastern folk music such as Jewish and Arabic. The style tends to be more distinct than either Celtic Metal or Medieval Metal, which many listeners often just call Folk Metal.
- Written by adg211288 with the input of the Metal Music Archives Admin Team
Sub-genre collaborators (shared with Viking Metal):
Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching
Album · 2015 ·
Folk Metal
siLLy puPPy
ULKAN NEWEN is a Chilean folk metal band that got its start in the small town of Curarrehue which is situated near the Villarica volcano from which the band derives its name only from the indigenous Mapudungun language translation of the volcano. The band formed in 2008 and after going through many lineup changes relocated to the larger city of Temuco. The band describes its music as “Global Folk Metal” which incorporates folk music not necessarily indigenous to South America but literally adopts folk musical ideas from all over the globe and mixes them with heavy metal music.
The band has found a bit of success and popularity for its unusual approach and has appeared at international festivals such as the PaganFest II where they played with better known bands like Eluveitie and others. So far the band has released only a single album titled LA FUERZA DEL CANTO which translates into “The Force Of Song.” The album is fairly short as far as folk metal albums are concerned with many in the genre sprawling over an hour’s playing time. LA FUERZA DEL CANO features only six tracks that add up to 35 1/2 minutes of playing time. Without a label the band so far has only released its album independently.
The band really does incorporate a lot of various folk styles into its mix ranging from traditional Latin folk flavors to Irish jigs and gypsy swing. The band features two guitarists, a bassist, drummer, keyboardist, violinist and flute player. While folk metal can range from the primarily black metal dominated sounds of Moonsorrow infused with folk flavors to bands that are more folk music oriented than metal, ULKAN NEWEN adds more emphasis to the global folk side of the equation with the metal only serving as a somewhat secondary element usually in the form of hefty guitar riffing and the occasional growly vocals otherwise the band is more like a speed folk type of act.
I can see why this gets overall negative reviews as it does come off as a little cheesy. It’s very melodic and the symphonic keyboards and violins add more non-metal elements than the guitar, bass and drums can often overpower however a few tracks like “Invoca El Poder” adopt a virtuosic Symphony X type of approach with crazy keyboard soloing and neoclassical guitar sweeps along with galloping guitar riffs and fast tempos. The band is just as likely to escape metal altogether and engage in a festive folk dance style that makes you feel like you’ve entered a fiddling contest where the Irish jigs are in competition with the gypsy swing and Latin American influences.
It’s a very instantly endearing album if you like highly melodic folk-infused hooks with lots of violin and flute. While the metal is not as prevalent as many would like, the band certainly has the chops to deliver the goods when the metal is unleashed into a furious uproar but on the non-metal segments the band sounds like a typical global fusion type of band which is a style of music i actually love a lot so this is actually a type of music that appeals to me. I’m personally OK with not thinking of this as a metal band per se and that it’s a band that simply incorporates metal into a larger recipe. The most impressive track on the album is the closing “Bagual” which delivers beautiful folk music and adds enough metal to make it a very interesting track especially with all the twists and turns.
Overall the band does a fairly decent job of mixing metal with the varying folk styles and although i do wish the metal was a more important ingredient to this folk-infused potpourri, i can’t say i’m displeased with the results of what’s presented. A very nice album even if not reaching any kind of classic status. Given the large amount of instrumentation i have to say that the production and mixing is actually pretty decent considering this is an indie band. The band has a very professional looking website and knows how to promote itself. For emerging from such a remote area and having only a limited exposure to the world market, ULKAN NEWEN delivered a fairly impressive debut. The question is though will a new album ever come to light? The potential for becoming a world class band is definitely there.
Album · 1999 ·
Folk Metal
SilentScream213
Agalloch are a name carved into Metal legends at this point in time, iconic for their delves into Folky Post-Metal and ability to craft immense atmosphere. Their debut album “Pale Folklore” shows the band had not quite settled at their modern sound yet, but does that make the album any less strong?
The answer, at least for me, is a resounding no. There’s nothing in the way of Post-Metal here; in fact it’s Folk Metal in name only, stylistically being a hybrid of Blackened Gothic Doom more than anything else. Despite progressive and layered songwriting, most of the actual musicianship is quite simple.
Thankfully, the guitar leads crafted here are some of the most memorable in all of Black Metal, and that’s thanks to the strong Gothic Doom influence. Melancholic, melodic and simple, each song has at least one lead progression that is unforgettable. The rhythm section supports them with pillars of gloomy, repetitive chords and martial percussion, as well as some hidden but impressive basswork as well.
“Hallways of Enchanted Ebony” is the best display of their talent here, first posing the main motif as an acoustic melody over driven rhythm guitars, only for it to come back later in full glory as an electric lead. It even shows up again in the bass! One of the best guitar leads in Metal, I think. The lyrics throughout the album are beautifully somber as well, perfectly matching the atmosphere, and the vocals are a uniquely enunciated blackened call.
Beautiful, harrowing, poetic, and full of exquisite melodies. Should not be missed.
Album · 1999 ·
Folk Metal
SilentScream213
A stark improvement over their debut, Vintersorg became stronger in every arena here. The songwriting is slightly progressive, full of variety within the song. Softer passages are interwoven well into the blackened Viking sound. There is a lot more energy here than before, especially in the rhythm section which now sounds fantastic. Non-Rock instrumentation like synths and keys are sparse, but expertly applied when they do appear.
The vocals remain a bit of a sore spot for me. Not bad, but at times they do sound a bit goofy, really leaning into that… folky viking epic sound. The best of vocalists can pull off melodramatic theatrics, but this guy just falls short of that. Still, not nearly enough to detract from the performances.
That aside it doesn’t really have any weaknesses. It’s not the best or most memorable Viking Metal release, but it is absolutely up to the standard and beyond. A rather quick album that stays on topic the whole way through and never fails to deliver.
Album · 2024 ·
Folk Metal
Kev Rowland
This is the 12th studio album from Finnish folk metal band Korpiklaani, or the 15th since Jonne Järvelä started on the musical journey which has seen a few name changes and a move from pure folk into folk metal. Given that my love of folk music is probably equal to my love of metal, this genre should be a match made in heaven for me, but while folk rock bands such as Fairport Convention and Steeleye Span have always managed to get the balance right, most bands in the folk metal genre somehow come across sounding a little twee and if they are playing at it as opposed to meaning it. Consequently, I have never been as much of a fan of this band as one might imagine, and when I saw this album had been released I was not exactly looking forward to it.
That changed as soon as I started listening to it, as I found that opening track "Kotomaa" grabbed my attention because it was as if The Levellers were being taken into a heavier direction. The metal was heavy, and both the accordion and violin felt like they totally belonged as opposed to being add-ons to the core sound. Comparing the line-up on this release to 2021’s ‘Jylhä’ one notes there has been just one change with violinist Olli Vänskä joining Jonne Järvelä (vocals, guitar), Kalle "Cane" Savijärvi (guitar), Jarkko Aaltonen (bass), Samuli Mikkonen (drums) and Sami Perttula (accordion), but musically we now have a band which are firing on every cylinder and the result is an album which to my ears is easily the best and most consistent they have released to date. The more I worked through the album I was amazed at how instead of having an album which I found jarring every now and then felt as if every part has been crafted together and it could not be imagined to have one without the other. There is a power here where the metal guitars and drums are enhanced by the folk meters and the use of violin and accordion as key soloists, yet they also provide some wonderful melodic harmonies when required. This means we can get a guitar/violin duel, with the accordion providing the riffs, or the six-strings competing against the four for dominance, and it is all vital and incredibly dynamic.
When I reviewed their last album I said it was a step in the wrong direction, but somehow they have totally changed course and instead have released an album which is essential and a highlight of the genre.
Album · 2005 ·
Folk Metal
siLLy puPPy
Triumphant, epic and celebratory are three words that come to mind when describing MOONSORROW’s fifth album VERISÄKEET even though the album’s title translates into English as “Blood Verses.” Considered the pinnacle of the band’s career by some and one of the best Finnish metal albums of all time by others, VERISÄKEET was no doubt a major evolutionary development in the band’s sound and one that primarily jettisoned the Viking metal sensibilities of the previous “Kivenkantaja” and zeroed in on the Finnish folk music that the band had been implementing since its early albums that started with “Suden Uni.”
Heavily steeped in Norwegian black metal, VERISÄKEET features four lengthy 14-minute plus slabs of MOONSORROW’s epic heathen metal plus a final closing track of unplugged Finnish folk music showcasing the band’s more intimate side replete with nature recordings offering lengthy moments of non-musical contemplation. The band specifically didn’t want to copy its approach on “Kivenkantaja” therefore it focused on darker and harsher mood settings while increasing the use of the traditional instruments that had already become the band’s hallmark signature sound. Likewise even though penned entirely in the Finnish language and incomprehensible to many, the lyrics are more abstract and evoke a touch of surrealism.
The album’s approach is quite simple actually. The tracks open with simple folk melodies or in the case of the album itself nature field recordings and then joined in by rampaging black metal guitar riffing, bantering bass dynamics and blastbeats. Through the lengthy processions the melodic groove of the folk music remains dominant as one motif after the next offers new variations of folk musical fills that include the very un-metal instrumentation of the accordion, Jew’s harp, tin whistle and indigenously grown kantele, a traditionally played Finnish zither-like instrument that gives a Baltic mystic to the musical flow. Likewise the band employs the use of intricate vocal harmonics throughout as well as moments of acoustic guitar driven cooling off periods that offer an escape from the incessant distorted grunge effect of the cascading twin guitar riffing stomps.
Amazingly even though the songs themselves are based around rather simple folk tunes that could probably be whittled down to a mere five minutes of playing time, MOONSORROW showcases its compositional prowess on VERISÄKEET with its uncanny ability to eke out every possible variation through a series of free flowing cadences that extend to the 14 minute playing time with the penultimate “Jotenheim (Giant-Home)” meandering to the near 20-minute mark although the track does feature an unnecessarily long non-musical ending of nothing but nature recordings that do wear out their welcome. The first four tracks are all executed in the same manner, each with intricately designed folk melodies and accompanying varying effects however the closing “Kaiku (Echo)” features an unadulterated unplugged folk song that offers a taste of what the Finns do around campfires i presume!
Unless you’re totally adverse to the idea of folk metal in general, you can’t go wrong with VERISÄKEET as it demonstrates one of the purest and most refined examples of how black metal and ethnic folk musical styles can seamlessly blend into one cohesive wholeness. MOONSORROW had already proved its ability to craft such music beyond the usual drinking song adolescence into a more sophisticated epic approach that offered sweepingly beautiful soundscapes fortified with instantly addictive melodies and crushing metal heft. A triumphant peak of the band’s sound and one that would cement their style as the dominant one. An almost flawless album marred only by the extremely long moments of nature recordings that diminish the impact of the overall experience slightly. Nevertheless one of MOONSORROW’s finest moments for sure.