Album Review: Finsterforst - Still (2026, AOP Records)
- 28 minutes ago
- 6 min read
Written: 26th July 2026
More than twenty years into their career, Finsterforst have carved out a unique place within the German metal scene. Describing their music as Black Forest Metal, the band have never sat comfortably within a single genre, instead drawing together black metal, folk influences and sweeping atmospherics into a sound that is unmistakably their own. Seven years after their last full-length release (with the band classifying the 2023, forty minute Jensits as an EP) Finsterforst return with Still, a seventy-eight minute (if you include the two cover versions at the end) behemoth that, as ever, demands much from the listener.
As always, each song is in the band’s native German and opening track Obduktion (Autopsy) sets the scene in typically dramatic fashion. Beginning mysteriously and quietly, with disconcerting guitar and haunting vocals, it wastes no time in drawing us in. Finsterforst have always been adept at allowing songs to develop naturally and nothing on Still is rushed, with Obduktion a strong example of this. With a balance of folk and metal elements, it makes use of clean, growled and choral vocals each adding its own characteristics to a thrilling smorgasbord of sound. During the central instrumental section, accordion from Johannes Joseph combines with the well-considered melodic guitar hooks of Simon Käflein and David Schuldis, creating something quite unique. Lyrically, it is a portrait of someone consumed by anxiety and alienation and reads like a post-mortem examination of a troubled life.  Niemand, scheint es, will dir helfen  / Die Gedanken rasen wirr / Und die Schatten dieser Welt ziehen die Schlinge enger zu (It seems nobody wants to help you / Your thoughts race in a jumble / And the shadows of this world are tightening the noose). Incredibly well paced and beautifully arranged, it is a wonderful introduction to what Still has to offer.
Herbstwanderung (Autumn Walk) is another beautifully constructed track that again demonstrates the range that Finsterforst offer for the listener’s delectation. Some moments are built around gentle guitar arpeggios, some around majestic orchestral arrangements that would not be out of place during Nightwish’s heavier interludes (albeit more subtly applied). Expansive and almost quest like in nature, it follows an annual autumn pilgrimage to a gravesite whose occupant remains deliberately ambiguous, entwining memories of loss with reflections on the fears and doubts that continue to linger. Zurück bleibt einsam / Ihr kläglicher Ruf / Sein Echo verklingt / Erstickt vom Herbst (All that remains is / Her pitiful cry / Its echo fades away / Suffocated by Autumn). With a beguiling mix of black metal, symphonic embellishments and pastoral atmospheres, it is certainly worth looking at translated versions of the lyrics in order to gain the most from the experience. That said, even without understanding a word of German, the emotion and sense of longing woven throughout the song shine through with remarkable clarity.
A sharp critique of manipulation and extremism, Knie nieder (Kneel Down) continues to display Finsterforst’s ability to be both brutal and powerful yet richly layered. The septet also make impressive use of space and their dynamic changes are effective and well positioned. Nothing is done simply for effect and the brass orchestral section add a sense of scale as Olli Berlin’s vocals weave the narrative with a menacing blend of charisma and control.
It is followed by the impressive Im Wind (In The Wind) – a dark maritime tale that becomes a meditation on fate and death. Making use of every second of its ten and a half minutes, Finsterforst harness all of their storytelling nous in creating a vivid picture in the listener’s mind. The initial section sways with the motion of a tranquil sea, its undulating melodies conjuring the image of a ship gliding steadily across the water. Alles schlief, mitten in der Nacht / Bei klarem Himmel und auf ruhiger See / Ein Stück Totholz trieb vor uns her / Der helle Mond die Richtung weist (All was asleep, in the dead of night / Under a clear sky and on a calm sea / A piece of driftwood drifted before us / The bright moon showing the way). The central passage which features acoustic guitars and accordion fits perfectly with the narrative and sets up the more dramatic conclusion in outstanding fashion, each element of the music adding to the tension. Without doubt, one of the best songs here.
Initially, Still Nacht (Silent Night) brings something altogether more aggressive to the album but again it is the quite exquisite contrasts with the quieter moments that give the track its character. A grim depiction of modern warfare, it exudes passion and a sense of danger both musically and lyrically. Sebastian Scherrer’s keyboards add a sense of pathos that focuses our thoughts. The lyrics examine war’s ability to dehumanise everyone caught within its net.  Zerfressen von Angst / Der Wahnsinn glänzt hell in unseren Augen / Heut Nacht wird unser Feind ausradiert (Consumed by fear / Madness shines brightly in our eyes / Tonight, our enemy will be wiped out). Throughout the album, bassist Tobias Weinrich and drummer Cornelius Heck provide a formidable rhythmic foundation, demonstrating a keen understanding of when restraint is required and when a composition demands greater force. Their contributions are never needlessly showy, instead serving the needs of the song while reinforcing the remarkable unity that exists within the band.
Bringing even further diversity to Still, Fels (Rock) is one of the album’s most hopeful pieces. An acoustic based track, the protagonist finds strength in a bond with another person. It highlights the emotive power that a stripped back approach can bring and it gives listeners momentary respite from the weightier pieces that surround it.
Ending the album proper is the twenty-four minute Leere (Emptiness). A thrilling, ambitious epic, it encapsulates everything that makes Finsterforst such an interesting band. The almost three minute introduction builds patiently, leading towards the first growled vocals. Aus den Gräbern dringt Gelächter / Feststimmung im stillen Haus / Heimgekehrt aus fernen Ländern / Aufgeregt erzählen sie (Laughter echoes from the graves / A festive atmosphere in the silent house / Having returned from distant lands / They recount their tales excitedly). With different movements that incorporate heavier black metal, ominous cinematic grandeur and even a jaunty accordion solo, it questions whether meaning, happiness and confidence are genuine or merely temporary illusions. Several guitar solos emerge throughout, their fluid phrasing and carefully shaped melodies providing some of the composition's most memorable moments.
Above I mention the album proper as the final two tracks are cover versions of Immortal’s Beyond The North Waves and perhaps more interestingly, Pink Floyd’s Another Brick In The Wall (Part II). While not listed explicitly as bonus tracks in the press notes, it is hard not to think of them that way. Nevertheless, the Immortal song is an assured - albeit fairly faithful - rendition filtered through Finsterforst's own lens. Another Brick In The Wall (Part II) proves the more adventurous of the two interpretations, opening with a melancholic bass motif and ominous, restrained vocals before briefly adopting an almost thrash-metal energy. As the song progresses it gradually moves closer to Pink Floyd's original arrangement, with the guitar solo in particular retaining much of the character and phrasing that made it so memorable.
Still is not an album that reveals itself fully on a first encounter. Its length alone demands commitment but those willing to spend time with it will discover layer upon layer of detail hidden within its songs. Despite the generous running time, nothing here outstays its welcome; even the most substantial compositions seem to pass with surprising ease. Much of that is down to Finsterforst's understanding of how to shape a piece of music. Every transition, recurring motif and change in intensity feels carefully placed, allowing the album to unfold naturally and keeping the listener absorbed throughout. As an English speaker, there is undoubtedly another dimension to be gained from studying the lyrics more closely, yet the spirit behind the words remains readily apparent. There is a sincerity and sense of purpose running through these performances that transcends any language barrier.
More than anything, however, Still succeeds because of the worlds it creates. Whether contemplating loss, conflict, mortality or the search for meaning, Finsterforst surround the listener with an unmistakable afterglow that lingers in the mind. Those who appreciate the expansive songwriting of bands such as Borknagar, Enslaved, Minas Morgul, Wilderun and Moonsorrow will find much to admire here. Finsterforst ask for time and attention but few albums this year have repaid them so generously. One of the most rewarding releases of the year so far and sure to inhabit the upper reaches of my albums of the year list come December.
Still is released on 31st July.
Finsterforst online
