TROLLFEST ‘FLAMINGO OVERLORD’ (2022)

Being original and having your own essence is still today synonymous with going your own way and ignoring what others say or do. It is curious that this maxim that for the Metal World, should be respected as the Purest Creed, is the one that is most criticized by the famous sector known as ‘mainstream’. They are the first that when a band presents something new and different don’t accept it.

Many years ago, I read an interview from Mille Petrozza (Kreator) who masterfully summarized what he thought of that sector: ‘if we don’t change, they accuse us of repeating ourselves, and if we change they tell us that we no longer sound the same. So we decided to do what we like.’

That is what we could say about the Norwegians TROLLFEST’s new album. Founded in the early 2000s, they can proudly say that after nearly 20 years in business, they have managed to carve out a niche for themselves in this industry since they released their first full-length in 2005 Willkommen Folk tell Drekka Fest! displaying a unique mix between Extreme Metal, sounds taken from Balkan Metal and a unique mixed language in between German and Norway (Trollspråk), something that they have abandoned for English right now and for which I greatly thanks them.

These two strengths were undoubtedly what led them to be known throughout the globe as an original band worthy of being enjoyed live. I saw them ten years ago on their only visit to VLC and I only have two albums of their discography: En Kvest for den Hellige Gral (2011) and Brumlebassen (2012). The first one impacted me greatly with those sounds of Akelarre, violent and full of claw. I also liked the second one but, and I’m sorry to say it, the formula was already sticking in repetition. Many years later, I got them back when they released their Ep Happy Heroes (2021) to celebrate their inclusion on Napalm Records.

With Napalm Records they have released their ninth studio album entitled Flamingo Overlord, which tells the story of a tyrant and despot flamenco named Bob Venke. In this way, although the album could be seen as conceptual since it tells a story, there are other songs that go beyond the theme but maintain the flamenco concept and everything related to it.

And although they have wanted to give it a tropical tone at times, I want to say that in the natural park of La Albufera in my town, we also have pink flamingos and who knows if some Bob Venke infiltrated too.

Let’s go on to break down this Flamingo Overlord. The album has eleven songs and it is opens with ‘Dance Like a Pink Flamingo’, a song that became very viral because it was chosen for being the first single of the album and for their participation in the Eurovision Song Contest previews. Focusing on the purely musical, and overcoming the shock of seeing a large number of bearded guys clad in fuchsia-pink tutus and tights that must have caused a visual fashion apocalypse in more than one; the song is good. It is and a lot. It starts with a lot of force, with a very marked Epic/Power Metal vibe to lead to a succession of very pronounced changes in rhythm but very well closed both at the level of strings and keyboards with a fast and hard drums notes that remain booming until its tremendous end.

On the vocal section, Trollmannen plays with his register and give to us a very nice clean voices. The choirs by Fabio Grimdrap are a plus.

We continue with ‘All Drinks on Me’. I was quite surprised that on being the fifth and last single presentation, on the album it appeared as the second song, especially because of their party-close-pubs-and-finish-barrels-of-beer vibe so typical of them and that years ago, it usually closed the record. This song is over all a beer-friendly song which have the collaboration of Jonne Järvelä (Korpiklaani) who puts a few voices more higher than he usually sing. On a musical level, its initial notes are very folky, a lake that lasts throughout the song until it reaches the encore, which is very catchy and can haunt your head for days and days. The change of rhythm in the middle of the song is surprising (very country like the oldyes Red Nex) and with some Tyrolean voices that are repeated towards the end of the song. A very positive and very well closed song.

With ‘Flamongous’, a title that made me think of a zoophilic cross between the Flamenco and the Humungus of ‘Mad Max’; we find one of the best songs on the album. I liked this one from minute zero and it became my favorite ahead. What makes this song addictive is without a doubt the guitar notes. They are different, suggestive, dark, expressive… in short, they have it all. They stand out above all else throughout the song and thanks to the rhythm guitar and bass even more. I also like the vocal treatment where Trollmannen gets a wonderful thick and at the same time clear register, and how he combines with Drekka with a very skunk saxophone notes that (finally) get out of his usual register. The battery except for the final part where it releases a bit of fury, here it acts as a rhythmic cushion. A seamless closed theme. For me one of the best on the album.

‘Twenty Miles an Hour’, was the second single (if I remember correctly) and my favorite until I heard the previous one mentioned. Another total change that is completely out of the rhythms that many were used to. It is a hard, strong, punchy theme. In terms of music they go with all the artillery to the sack. It is more aggressive than the others because the abuse of the bass (missing in many songs) and the drums are harder. The entrance of rapping in the middle of the song accompanied by the sax, although disconcerting for many, is a very danceable success. The theme recovers the notes from the beginning to complete itself. Another great song and excellently closed.

The fifth song baptized as ‘The Flamingorilla’ (another zoophilic cross). Here we suddenly return to the usual notes, it which means a classical Norwegian theme with all the instruments playing at the same time with Drekka as the center of attention. In general, the song is well done musically, but I prefer the treatment of the voices where Trollmannen makes it clear again that he knows how to take advantage of his recording, which is mixed with choirs and rude second voices. Curiously, if we compare it with all the previous sonic explosions, this one song it is the one that causes the least surprise.

‘Flamingo Libre’ was the fourth single to be released and it’s literally a total clamp down. Here Fabio (rhythm guitar) takes the vocal command and shines with his sweet and harmonious voice. It’s a somewhat soft song, almost bordering on pop but with bad drool, disco-feelings but hallucinogenic at the same time. The truth is that if they wanted to describe what it feels like to ingest a suspicious beverage, they have succeeded. Very original and risky musically but well closed.

With ‘Piña Colada’ (third advance single) we find something really atypical. This theme, which is sung entirely by TrollBANK, is an ode to the drinks menu. It could be said that it is almost conceived as ‘the ballad of the album’, something that it grants very easy thanks to the voice of TrollBANK very soft and very well set. On a musical level, what I like the very present, furious and strong drums. The guitars do their job of putting the rhythm to the song, but the bass sounds very remote. The middle of the song with that techno-chill change of pace with distorted voices is very funny and the final part is a total madness. In short: another great song and another of my favorites.

As a part, I would like to make it clear that those supposed “experts” who have wanted to compare this single with that horrible monstrosity of ‘Norwegian Reaggeton’ that those gentlemen from Nanowar of Steel brought out accompanied by the worst that could come out of my town (yes, Charly Glamour from Gigatrón is Valencian) should have only listened to the first ten seconds of the song, which is the only thing that can remind it. Luckily TrollfesT sound more violent even when they want to sound soft and cute.

‘Rule the Country’ is another song with the ‘TrollfesT’ stamp, but with a very dark, almost perverse twist, perhaps closer to the origins. Musically there are no cracks anywhere with the string section and drums sounding as one. It is once again a great luxury to enjoy Trollmannen with his changes of registers. The part in which the voices join and pull along pagan paths in their lines is a success. A very interesting song.

‘The Way You Earn Your Drinks’, another song full of rhythm changes. Here a somewhat electronic sound is sought, like a video game tune. Playful drums, crushing guitars and great shine in Trollmannen’s voice. A theme with a festive aftertaste but with bad intentions.

‘Overlords Have Feelings’ is the penultimate theme and in which various rhythms that have been present throughout the album are intermingled. It is perhaps the most Balkan of all, but playing with other more folky notes that make the song move with all the instruments playing in unison. The drop in rhythm towards the middle of the song, with more rhythmic guitars, could be the explanation of the title. Another original song and well closed.

We close this Flamingo Overlord with ‘Bob Venke’. If someone thought they had already heard everything on this album, they hadn’t gotten here yet. It is without a doubt the most sinister one of all. Dark, demonizing, creepy… it doesn’t really matters if you put some piano notes in between, it doesn’t stop being so. It could be understood as the rise or descent of Bob Venke to total madness after his misdeeds. The choirs towards the end of the song dominate it, and the drums are the boss. On a vocal level, we meet again with a Trollmannen excelsior. Drekka’s crazy notes almost confirm that the Flamenco has already lost its way and doesn’t know where it’s going. The ending is impressive, and therefore the best finish for an album that comes out positively from all sides.

Flamingo Overlord is a very competent and very elaborate album. TrollfesT have been very reckless to present a work so full of nuances, sonic coloratures and various vocal registers. For that there is no middle ground: or you like it or you hate it. If you are a person with eclectic tastes and who searching for a new sensations, you must listen to it without a doubt. If you are one of those followers who don’t accept changes, you will not like it. I admit that I was a bit skeptical about the final result, but I was pleasantly surprised by how easy it was to listen to and how all the songs fit together. No matter if they talk about bees, Trolls or flamencos: there is metal in each and every one of the cuts.

Flamingo Overlord was released on May 27 by Napalm Records and you can buy it here and in differents formats.

https://napalmrecords.com/english/trollfest

TROLLFEST are:

Trollmannen (Voices)

Fabio Grimdrap Glutenfri Fleskeng (Guitars)

Mr.Seidel (Guitars)

Lodd Bolt (Bass)

Drekka Dag (Saxophone)

Fjernkontrollet (Accordion/Synthesizer)

Kjellkjé Chinnetfür Björnênēszkūtt (Drums)

TrollBANK (Bouzouki)