Review Summary: Yes, go into the forest — absolutely!
This is my first review dedicated to Avatar, and I decided to work my way backwards: partly to honor the band’s most recent release, and partly because (I confess) I’m a bit too lazy to dive straight into the band’s first three albums. But that’s a matter for other reviews.
The creativity and work ethic of these Gothenburg Swedes seems endless. This is their tenth studio album in less than 20 years since the release of their debut in 2006 (Thoughts of No Tomorrow). These guys are tireless creative workers of heavy metal, and I sincerely hope they’re living the dream in full, because they deserve it.
Even though the band has been in a strong phase for years now, Don’t Go In The Forest represents a clear step forward. Not because the previous record fell short — far from it — but because here Avatar seems to have found a sharper synthesis of heaviness, atmosphere, and artistic intent. It’s one of those rare moments where a seasoned band not only maintains their level, but surpasses themselves.
Announced ahead of time and generating plenty of anticipation (at least for me, that I can guarantee!), Don’t Go In The Forest arrived on October 31, 2025 — Halloween, the perfect date for the dark, theatrical mood these good-natured tricksters have mastered so well.
In the band’s own words, this new album represents “things we’ve never done before” — a promise of breaking old formulas and exploring new territory.
But did they really do that? I'm not so sure about that, mas this album kicks some serious ass!
On Don’t Go In The Forest, Avatar delivers a densely atmospheric package — shadowed forests, veiled terrors, and grooves that slither in like whispers in the half-light. The sound, as the band had hinted in interviews, leans into more melodic and progressive territory, yet never abandons aggression or that visceral instinct.
The first single released ahead of the album seems to repeat the strategy used on the last two records, when the band chose to lead with their heaviest track (like “Valley of Disease” on "Dance Devil Dance" and “Silence in the Age of Apes” on "Hunter Gatherer"). “In the Airwaves” is fast, aggressive, violent. Frenetic. There’s a sense of urgency in this song, as if the band is determined to prove they still have plenty of fire to burn — and that even after decades, they haven’t lost their edge.
At the same time, on thi album there’s a growing sense of theatricality and subtle horror — as if musical and visual experiences merged into something close to a “metal film.” The title, themes, and atmosphere evoke dark woods, dangerous paths, and hidden secrets — all perfectly aligned with the circus-like, dense, dramatic image Avatar has cultivated for years.
“Tonight We Must Be Warriors” and “Captain Goat” (the latter carrying a bit of a Korpiklaani vibe) sound like they were written with live shows in mind. Both have sticky verses and shout-along choruses designed to be sung at full volume by any crowd, anywhere in the world.
But the standout track on the album is “Death and Glitz.” This song arrives with one of those riffs that seem to slip across the music — loose, almost sloppy, yet loaded with groove and intention. This unexpected sway gives the track a sense of controlled irreverence: it sounds chaotic, but it's a surgically calculated chaos. The alternation between clean and harsh vocals reinforces this duality, creating a contrast that drives the song forward without ever losing its swing. And when the solo hits, it avoids the typical metal showmanship: it’s twistier, more melodic, more... different. As if the band decided that unpredictability itself is the song’s greatest strength.
It’s a track that shines precisely because it doesn’t sound polished — and yet is flawless.
In the midst of all this intensity, “Howling in the Waves” arrives as a breath of calm — a brief clearing in the dense forest. It’s a moment of melodic respite that gently resets the listener before the album plunges back into the heavy swing of “Dead and Gone,” a track that stomps forward with thick, swaggering groove. The contrast between the two songs works in the album’s favor, adding emotional contour and reminding us that Avatar knows exactly when to hit hard and when to let the music breathe.
Verdict:
For anyone, like me, who is revisiting the discography from the end to the beginning, this album is an excellent starting point — it reveals Avatar’s maturity, ambition, and fully formed identity, acting as a retroactive mirror to understand where they came from.
Don’t Go In The Forest does not reinvent metal, nor does it reinvent the band’s sound. It’s also not the best album in their discography. But it continues a streak of wins from a band that hasn’t missed a single shot since Black Waltz back in 2012 (man, I’m really getting old!).
Highlights:
- Death and Glitz
- Tonight We Must Be Warriors
- Captain Goat
- Don’t Go In The Forest
