Der Var Engang...

In the sprawling, shadowed landscape of modern folk metal, there is a fine line between evocative atmosphere and aimless drift. Unfortunately, TROLD's latest offering, 'Der Var Engang...', falls decisively into the latter category. Rather than weaving a tapestry of cultural heritage and heavy instrumentation, the album presents a muddy, indistinct fog that obscures any potential for genuine artistic engagement. It is a work that seems content to inhabit its own murky environment, regardless of how little sense it makes to the listener.

From the opening moments of the title track, it is evident that the production prioritises a thick, suffocating reverb over clarity. While a certain level of ethereal decay is expected in the genre, here it serves to swallow the delicate nuances of the instrumentation. The transition into 'Heksen' and 'Udyrets Gab' reveals a penchant for repetitive, plodding arrangements that lack the necessary dynamic shifts to sustain interest. The melodic hooks are buried beneath layers of droning synthesis, making the experience feel static rather than evolving.

A dismal, directionless wander through a fog of self-indulgent production.

Where the folk metal genre usually thrives on the interplay between organic textures and crushing weight, 'Der Var Engang...' feels disconnected. 'Røveren' and 'Vætte March' suffer from a lack of rhythmic definition; the percussion feels muffled, as if performed through a heavy, damp veil. The attempt at 'atmospheric' depth results in a sonic muddying where the distinction between the traditional and the heavy is lost in a grey wash of sound. There is a palpable lack of focus in the core compositions.

Midway through the record, 'En Kiste Fuld Af Minder' and 'Troldenes Nat' showcase a desperate reliance on repetition to create mood. While consistency can be a virtue, here it manifests as stagnation. The melodic lines do not soar; they merely persist until the track concludes. The production choices feel deliberate in their decision to muffle the 'edge' out of the guitars, resulting in a soft, rounded sound that lacks the necessary bite to justify the 'metal' tag.

As the tracklist progresses into 'Skumringens Time' and 'Sensommerbålet', the fatigue begins to set in. The arrangements lack the sophisticated layering that separates masterful folk metal from mere amateur experimentation. The interplay between the traditional folk elements and the heavy backbone feels tacked on rather than integrated, a hallmark of a production that prioritises a pre-conceived 'mood' over cohesive songwriting.

'Dansen Med Myrtille' and 'Skovhuggeren' offer some minor glimpses of more defined structures, but they are too brief to salvage the overall listening experience. The instrumentation feels hollow, echoing in a digital void rather than resonating with any sense of cultural weight. The sense of 'place' intended by the band is lost to a generic, reverb-soaked aesthetic that could be applied to any track of this ilk.

The final stretch, culminating in 'Vølven', fails to provide a satisfying crescendo. The album concludes much as it began: adrift in its own murky atmosphere. It is a project that feels lost in the woods, lacking the direction, sharp production, and compelling melody required to stand out in a crowded field. It is an exercise in ambiance that ultimately produces only a dull, grey hum.