There was a time when a band named Equilibrium played a significant role in the epic / folk metal scene. In the early years of the new millennium, the rather saturated genre needed a fresh perspective — and this promising German act delivered exactly that. Their first releases, “Turis Fratyr” (2005), and, in particular, the legendary and widely acclaimed “Sagas” (2008), revitalized the epic Viking sound. By captivatingly blending these elements with symphonic black metal, the band built a strong fan base, though their folk melodies introduced a brighter, power metal character that never quite aligned with my personal preferences (nevertheless, I highlight the band’s importance within the genre).
After “Sagas”, Equilibrium maintained a respectable level of quality, but in the years that followed, they moved in a different direction. With René Berthiaume as the sole remaining founding member, the band’s identity shifted. This transformation became evident on the unsuccessful “Renegades”, where René explored new territory within metalcore and melodic death metal, setting aside the core elements that had earned the band recognition.
In that sense, “Equinox”, released six years after its predecessor, marks another step toward Equilibrium’s modern profile. The album leans heavily on unoriginal metalcore and trance metal (driven by layers of distorted guitars), mixed with synth-based pseudo-folk sounds that make several songs rather cheerful (“Awakening”, “Bloodwood”, “I’ll Be Thunder”). The epic and folk elements are now largely subdued, while the dark atmosphere of black metal is entirely absent. Sadly, the depth and richness of the band’s early era are missing — something fans have likely already come to terms with, having set aside hopes for a return to the band’s roots.
Once again, Equilibrium build their sound around the weight and expansiveness of core-ism, and newcomer Fabian Getto delivers the appropriate harshness with his growls. However, what’s most frustrating is that they seem to have lost their power in riffing. Those vivid, characterful patterns, full of Northern European folklore, have been replaced by generic, unfocused ideas that fall short of the band’s potential. The approach seems aimed at appealing to a wider, younger audience — songwriting favors accessibility, with structures that are easy to follow and readily embraced by listeners who aren’t necessarily looking for intricacy.
“Equinox” offers few real highlights, aside from some well-crafted riffs and melodies. Much of the album, especially in its first half, is intended to amuse the listener with almost dance-like rhythms, ultimately coming across as somewhat naive — a disappointing outcome, given the band’s past. Even some of the four accompanying video clips are rather cheesy, and specifically “I’ll Be Thunder” will make you laugh (I suspect they do it on purpose).
Amid all the heaviness, the synths take on a prominent role in a way that brings to mind Babymetal (I’m sorry to say that). I can easily imagine that a joint tour featuring this Japanese act, with Equilibrium in a supporting slot, could very well prove commercially successful (an idea promoters might want to consider!).
Toward the end, the orchestral folk ballad “Borrowed Waters”, featuring Roniit’s ethereal voice, offers a welcome reprieve from the metalcore intensity. Its soothing, atmospheric tone indicates that René is still capable of crafting genuinely compelling music, lingering in the listener’s mind even if it isn’t quite enough to offset the sense of dullness that characterizes much of “Equinox”.
The album leaves a strange impression: a mix of “tribal” motifs, overblown synth work, and bombastic arrangements that result in an experience that feels more awkward and disorienting than engaging. Its inconsistency prevents it from standing as a meaningful step forward compared to “Renegades”, and some good moments don’t suffice to change the overall impression. It verifies that Equilibrium, despite their good intentions, come across as a shadow of what they once were, unable to thrive outside the framework that helped them become popular.
Younger listeners may be exhilarated by the “tribal”, uplifting rhythms and electronic sounds of “Equinox”. However, others will likely be disappointed and turn back to the band’s earlier work, since there isn’t any indication that Equilibrium are interested in revisiting that sound.
♦ 4/10
Alex Nikolaidis
