One reason why fantasy is my favorite entertainment genre is because of the inherent requirement to suspend skepticism and allow oneself to be swept away in escapism. This is also what drew me to Forgotten Shrine, whose driving creative force revolves around nurturing the sense of wonder and whimsy that is so important to appreciating fantasy. Forgotten Shrine is a long-distance folk metal duo consisting of Josh Alexander from Pennsylvania and Sofia Frasz from Maryland. Nox Aeterna—meaning eternal night in Latin—is their independently released debut record. Will it leave me spellbound or stoic?

Nox Aeterna is an ambitious undertaking for a fledgling group. Alexander handles most of the instrumental duties, his respectable armory including the hurdy-gurdy and Irish bouzouki in addition to the usual guitar and bass. Frasz takes the lead with the vocals and lyrics, and Alexander frequently provides vocal support. Both members were actively involved in the musical composition, which is steeped in a similar folk music style as Albion’s, although with more Scottish inspiration than Celtic. In fact, Forgotten Shrine render two traditional Scottish folk songs (“Loch Lomond”¹ and “The Parting Glass (Reforged)”) into a contemporary rock format while preserving the heart and soul of the originals. The latter is also enriched by a fun flute performance by Ember Belladonna.

The timeless clash between light and darkness, central in many a fantasy tale, is ever present in Nox Aeterna. Forgotten Shrine are adept at crafting bright, catchy hooks and choruses, such as the upbeat “Terror! At the Ballroom”² or the rousing shanty “End of the Dream” (which reminds me a tiny bit of Wilderun’s Olden Tales & Deathly Trails). Both members employ many different vocal styles with varying degrees of success. The first verse in the title track is beautiful and menacing in equal measure, and the combination of vicious growls and grandiose choral notes is like an enchanting tug of war. That said, sometimes the vocal execution can be rough around the edges. Frasz’s voice is fairly husky, which obliges Alexander to sing very low at times beside her, sometimes resulting in a slightly forced-sounding harmonization (“Terror! At the Ballroom,” “Loch Lomond”).

There are a few other things that cause Nox Aeterna to feel somewhat tonally inconsistent as a whole. Namely “Halo,” a country/pop/folk amalgamation. It’s not a bad song on its own and has a decently catchy chorus, but it’s jarring when it immediately follows “Dearly Departed,” the darkest and heaviest song on the record. Additionally, while I enjoy the two covers, they don’t quite match the tenor of the original songs. The production quality is also murkier, and the drum tone is weaker than I would like.³ These shortcomings are amplified in the quieter songs (“Gods of War,” “Wander So Far,” “Halo”). I’m more of a substance-over-form kind of guy, so production flaws don’t usually make or break an album for me, but other listeners may struggle with it.

Nox Aeterna is the type of record that should appeal to those who prize passion over perfection. There is a genuinely earnest and free-spirited quality to the songwriting that beautifully embodies a wondrous fantasy realm. The music is fun without becoming outright cheesy, which can sometimes be a difficult line to walk in the folk metal genre. The vocals and production lack some polish, though I will always be understanding of a brand new band that may not have the same financial resources as other groups that grace these blog pages. On the contrary, the fact that Forgotten Shrine created and shared this delightful collection of songs ought to be celebrated. Nox Aeterna is rich, fertile soil in which budding seeds have been sown. I will be watching them bloom with keen interest.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Self-Release
Websites: forgottenshrine.bandcamp.com | facebook.com/p/Forgotten-Shrine
Releases Worldwide: November 6th, 2026

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