Album Review – Lordi / Sexorcism (2018)

Are you feeling tired and bored in life? Perhaps you need to be “sexorcised” by the most beloved mosters of Rock N’ Roll to the sound of their brand new (and somewhat controversial) album.

The most beloved creatures from the land of ice and snow, collectively known as Heavy Metal/Hard Rock horde Lordi, are back with another Rock N’ Roll party titled Sexorcism, the ninth studio album in their peculiar and fun career, and possibly their most controversial record to date, or as the band itself would say, a “full-on and uncensored shot of Lordi brand hard rock and roll”, and that controversy in the album is not open to interpretations. Quite the contrary, everything is pretty straightforward, starting with its cover art, unless you’re a diehard Steel Panther fan and got so used to all their profanity to the point you don’t think “Romeo Ate Juliet” and “The Beast Is Yet to Cum” can be offensive to the average listener.

Anyway, if there’s one thing that you’ll notice in Sexorcism from the very first second is how in sync and balanced the entire band is, and the reason for that is also fairly simple. Lordi have had the same lineup since their 2013 album To Beast or Not to Beast, followed by Scare Force One, released in 2014, and the excellent Monstereophonic (Theaterror vs. Demonarchy), from 2016. In other words, for the past 6 years, when you think of Lordi as a band you automatically think of the iconic Mr. Lordi on vocals, the competent Amen on the guitar, the bulldozer OX on bass, the stunning Hella on keyboards, and the precise Mana on drums, and a solid lineup is already a huge step towards quality, consistency and harmony for any band.

In the opening track Sexorcism we’re already treated to one of those eerie, cinematic intros only Lordi can offer us, exploding into the band’s classic Hard Rock with the keyboards by Hella bringing a touch of eccentricity to the music. Furthermore, the lyrics are indeed quite explicit, almost Steel Panther-ish as mentioned, but that’s what makes the song more fun in the end. Then in Your Tongue’s Got the Cat we have a smooth pace led by the always tuneful riffs by Amen and the keys by Hella, with Mr. Lordi adding passion to the musicality through his vocals (nothing truly outstanding, but it’s a good song anyway); followed by Romeo Ate Juliet, featuring a wordplay in the song’s name that’s just as good as it’s rhythm, pace and electricity, with highlights to the “poet of depravity and darkness” known as Mr. Lordi and the rumbling kitchen delivered by OX and Mana. And in Naked in My Cellar, once again we face lyrics that are kind of controversial (“You give my tummy butterflies / You make my heart go wild / Oh, you’re such a lovely sight / All mine, and locked up tight / Naked in my cellar!”). Musically speaking, it’s top-notch Lordi just the way we like it, with Amen and Hella being in absolute synchronicity, which means it should work really well when played live.

In The Beast Is Yet to Cum (and yes, that’s the name of the song) the band delivers a straightforward Rock N’ Roll tune where its creepy keys and Udo-inspired high-pitched vocals make the final result extremely entertaining, being also impressive how they’re capable of blending the sounds of guitars and keys so smoothly; whereas Polterchrist is a headbanging tune where Amen fires heavy, cutting riffs while Mr. Lordi tells the fun story of a girl possessed by a demon called “Polterchrist”, sounding very melodic and harmonious but obviously as heavy as Hard Rock can be at the same time. Then here comes Father Ruiz (remember that name from their previous album?) in the bridge SCG9: The Documented Phenomenon, talking to a possessed girl named “Anna” in an exorcism that builds the stage for Slashion Model Girls, an 80’s-inspired extravaganza where the keys by Hella spread sheer delicacy in the air, and of course get ready to bang you head with Lordi in a feast of heavy riffs, classic beats and spot-on backing vocals. After such dancing tune, it’s time to “get heavy” as Mr. Lordi would say with an electrified Rock N’ Roll party titled Rimskin Assassin, with his raspy voice sounding as captivating as usual and with Amen and OX kicking some serious ass with their strings (in special Amen with his fiery solo), not to mention the always stunning keyboard notes by Hella.

Hell Has Room is another atmospheric and hard-as-a-rock creation by Lordi, with Amen slashing his axe furiously while Mana pounds his drums in a very melodic manner, flowing smoothly from start to finish, before the also vibrant Hot & Satanned showcases those those distorted, phantasmagoric and creepy keys by Hella we love so much amidst a classic Hard Rock sonority with the beats by Mana and the low-tuned bass by OX matching the vocal lines flawlessly. Then a beyond eerie, spine-tingling intro evolves into old school Heavy Metal in Sodomesticated Animal, with Mr. Lordi effectively declaiming the song’s witty lyrics (“You look cold and hungry / And in need of stroking / I can catch trays with tasers / Take ’em home for pokin’ / Hey kitty, kitty / You’re smooth as silk / I want to hear you purr / You wanna licky and I got milk / Gonna shave of all your fur”), all boosted by another flammable guitar solo by Amen. And the strident keys by Hella dictate the rhythm in the closing tune, titled Haunting Season, a straightforward, classic Lordi composition also bringing some excellent backing vocals, supporting Mr. Lordi’s trademark roars until the music fades to the sound of tolling bells.

In the end, Sexorcism (which by the way is on sale from several different locations as you can see HERE) doesn’t look as controversial as some people are saying, and if you don’t take the album’s sexist and controversial parts too seriously (and let’s be honest, the music by Lordi is supposed to bring you joy and to be fun, and never not to be taken seriously), there’s plenty to enjoy in another good album by those Finnish monsters of metal and rock. And, who knows, maybe being part of a “sexorcism” to cure all the boredom and laziness in your life is not that bad at all, especially if the soundtrack to that is the electrifying fusion of Heavy Metal, Rock N’ Roll and Hard Rock played by Mr. Lordi and his talented crew.

Best moments of the album: Sexorcism, Naked in My Cellar and Rimskin Assassin.

Worst moments of the album: Your Tongue’s Got the Cat.

Released in 2018 AFM Records

Track listing
1. Sexorcism 6:52
2. Your Tongue’s Got the Cat 4:45
3. Romeo Ate Juliet 4:21
4. Naked in My Cellar 4:45
5. The Beast Is Yet to Cum 4:50
6. Polterchrist 5:23
7. SCG9: The Documented Phenomenon 1:14
8. Slashion Model Girls 5:25
9. Rimskin Assassin 4:50
10. Hell Has Room 5:04
11. Hot & Satanned 4:33
12. Sodomesticated Animal 4:23
13. Haunting Season 6:15

Band members
Mr. Lordi – vocals
Amen – guitars
OX – bass
Hella – keyboards
Mana – drums

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Album Review – Coldbound / The Gale (2018)

Living is an act of courage, and this Melodic Death Metal act from Sweden has the perfect soundtrack for that.

Founded by Greek multi-instrumentalist Pauli Souka in 2012 in Vantaa, a city in Finland that is part of the inner core of the Finnish Capital Region along with Helsinki, Espoo, and Kauniainen, but currently located in Hudiksvall, a Swedish city also known as Glada Hudik due to its hospitality and social life, the heavy-as-hell metal unity known as Coldbound returns with a brand new opus titled The Gale, their first Melodic Death Metal album to date. If you got used to the Black Metal-inspired approach of their previous releases such as their 2015 album Rites Under Moonlight, get ready to be stunned by the new Coldbound, sounding more polished, doomed, darker and, therefore, being highly recommended for fans of Insomnium, Draconian, Swallow The Sun and Wolfheart, among other excellent Scandinavian Melodic Death Metal acts.

Featuring the aforementioned Pauli Souka on vocals, guitars, bass, keyboards and programming, accompanied by Swedish artist Paulina Medepona (also known as Satana Lucia, and who was also responsible for the incredible and obscure album art) and Finnish keyboardist Andras Miklosvari, the concept behind The Gale focuses on memories of nostalgia and personal struggles, having the purpose of raising the awareness of those who suffer from depression, those who have suicidal thoughts or those who feel lonely. The motto of the album, repeated continuously on the song “Shades of Myself” and displayed on the digipak version of it, is “living is an act of courage”, with the album’s lyrics being mostly inspired by personal struggles and somehow promoting optimism through dark times. Such important message  only gets stronger and stronger as the music progresses, showcasing all the talent and hard work of Pauli and his crew and placing them as one of the most interesting names of the current underground scene.

In the intro 61° 43′ N 17° 07 E, which by the way are the coordinates for a point in Hudiksvall, the soothing sound of rain and an ethereal vibe suddenly explode into a feast of extreme music, setting the stage for The Invocation, highly inspired by the dark and pensive music by Insomnium and with Pauli firing his anguished growls while at the same time keeping the music mournful with his Doom Metal-like beats. Needless to say, the song’s lyrics exhale poetry (“Dark is the night, and the veils are drawn of shadows / Dark is the day, while the sun is no longer awake / The sun is calling for your dawn / These words colour countless shades I shall revoke beyond these shores / And drink your fading crimson tear”), and heaviness keeps pounding our heads in the also obscure but very melodic Endurance Through Infinity, where the guitar lines bring a touch of epicness from Folk and Viking Metal, with Pauli making sure we crack our necks in half headbanging to the song’s crushing rhythm.

Enhancing the impact and delicacy of their music thanks to the keyboards by Andras and the stunning vocals by Paulina, Coldbound deliver a touching creation titled The Eminent Light, where the melancholy flowing from the guitars create an interesting paradox with its doomed beats; followed by the title-track The Gale, which kicks off in full force with its Black Metal blast beats and an enfolding atmosphere. Furthermore, this is probably Pauli’s most demonic mode from the entire album, blasting infernal growls and scorching riffs during the whole song, as well as thunderous and dense bass lines. Then we have the fantastic My Solace, with its lyrics taken from the poem book of Kostas Karyotakis titled “Nostalgia” (“My solace will be seen – by scars upon my heart / My solace will be told – by letter of remorse / The bitter greet – a cold farewell / The olden sorrows – that ignite again”). Andras once again brings tons of flavor to the musicality with his keys, while Pauli gives a lesson in dark, melancholic and gripping Melodic Death Metal, flowing majestically until its astounding finale.

Winters Unfold is another neck-breaking creation by Coldbound, with its rhythm and vibe once again presenting hints of Folk Metal and with the strident guitars by Pauli going along flawlessly with his growls; whereas in Shades Of Myself a promising start solidifies into a classic Scandinavian Melodic Death Metal tune, as polished and vibrant as we can expect from a band like Coldbound, and once again with Pauli adding a good amount of intricacy to the overall sound through his beats. Lastly, how about an 11-minute aria of melodic and obscure extreme music entitled Towards The Weeping Skies to conclude the album? In this journey through the dark, the vocals by Pauli get to a point where they can be considered “anguished whispers”, not to mention the outstanding phantasmagorical keys in the background. Hence, you’ll be hypnotized by Pauli’s guitar lines before the music fades into a gentle and touching outro, accompanied by the sound of a heavy and gorgeous tempest.

The Gale is available for a full listen on YouTube and on Spotify, but if I were you I would definitely show my honest support to such distinct act by purchasing the album from their own BandCamp page or Big Cartel (in digipak format or as a digipak + shirt bundle), from iTunes, or from Amazon. Also, don’t forget to pay Coldbound a visit at their Facebook page and YouTube channel, and let their comforting darkness embrace you. If living is an act of courage as Coldbound say, then The Gale might be the perfect soundtrack for that tough but always rewarding adventure.

Best moments of the album: Endurance Through Infinity, The Gale and My Solace.

Worst moments of the album: None.

Released in 2018 Moonlight Productions

Track listing
1. 61° 43′ N 17° 07 E 2:40
2. The Invocation 5:22
3. Endurance Through Infinity 7:15
4. The Eminent Light 5:36
5. The Gale 7:35
6. My Solace 7:18
7. Winters Unfold 5:35
8. Shades Of Myself 5:36
9. Towards The Weeping Skies 10:58

iTunes/Amazon bonus track
10.The Eminent Light (Instrumental) 5:32

Band members
Pauli Souka – vocals, guitars, bass, keyboards, programming

Guest musicians
Paulina Medepona – vocals on “The Eminent Light”
Andras Miklosvari – keyboards on “The Eminent Light”, “The Gale”, “My Solace” and “Winters Unfold”, orchestrations

Album Review – Galvanizer / Sanguine Vigil (2018)

A violent and frantic album by three Finnish metallers who know exactly how to blend classic Scandinavian Death Metal with the more modern sound of Deathgrind.

From the swamping lands of Finland, old school Death Metal/Grindcore unity Galvanizer emerges with their debut full-length album Sanguine Vigil, after having paid all their dues like we were used back in the 90’s with several demo tapes and a 7″ EP titled Horrid Tales of Death…, released in 2015. Fans of bands like Machetazo, Abhorrence and Haemorrhage will have a good time listening to the ten pulverizing tracks featured in Sanguine Vigil, being recommended for admirers of both classic Finnish Death Metal and the more modern Deathgrind sound found in the scene nowadays.

Formed in 2015 as a one-man project, this Laitila-Tammela-based act quickly turned into a power trio, comprised of Vili Mäkinen on vocals and bass, Aleksi Vähämäki on guitars and backing vocals, and Nico Niemikko on drums, becoming one of the most promising underground bands in Finland due to their old school approach and their youthful energy. Featuring a gory cover art painted by Turkka G. Rantanen, a Finnish institution famous for his works with Demilich, Demigod, Adramelech, Depravity and many more, Sanguine Vigil is a violent and frantic statement by Galvanizer, sending a sound message to everyone that stands in their way that they’re not among us to fool around. “Expect the same primitive Finnish grinding death madness but this time much more faster and brutal,” said Aleksi about their new opus, probably devilishly grinning about it.

An initial narration which seems to be taken from one of the Friday the 13th movies ignite the moshing feast titled Mood For The Blade, an amazing welcome card by the band exploding into a grinding devastation by Galvanizer led by the infuriated growls by Vili, while Aleksi sounds heavier-than-hell on the guitar. Then simply slam into the circle pit to the frantic Grindcore spearheaded by Nico and his unstoppable beats in Enjoyment Of Annihilation, with its lyrics reminding me of the always inspiring words by metal masters Carcass (“Pulmonary artery hemorrhage / hacksaw through the raped face / cock dismembered brutally / rectum penetrated ghastly way / pleasure to kill / cadavers raping is the name of thrill / game of life / deep thoughts of dirty, sick mind”); followed by Deathbeat Deity, the perfect fusion of old school Death Metal with contemporary Grindcore translated into a rhythmic, pulverizing wall of sounds, with highlights to the amazing job done by Nico on drums and the slashing riffs by Aleksi.

The title-track Sanguine Vigil, the longest of all songs, begins in a somber and ominous manner, morphing into a dense and crushing sonority where Vili growls deeper and deeper (also extracting aggressive tones from his bass) while Nico keeps kicking some serious ass with his beats and fills, whereas Grind Till… You’re Dead! brings forward an absolute brutal demolition in less than two minutes, with all three members pounding their instruments, generating a tornado of violence and gore recommended only for the brave. And the trio keeps blasting their high-octane music with no mercy for our souls in Domestic Mastication, another straightforward, classic Grindcore composition with Vili and Aleksi grinding their strings from start to finish; and in Gorefestation they add an extra dosage of groove to their music thanks to the thunderous bass by Vili, resulting in a fantastic display of extreme music where Nico gets even more demented on drums than before, enhancing the song’s punch considerably. Put differently, the grinding extravaganza proposed by Galvanizer can’t get any better than this.

In Premature Rot, another groovy and flammable chant where the band continues to pave their path of destruction, have fun singing along those beautiful lyrics with Vili (“A premature rot is your fear / as minor treat comes real / accidental slit of the blade / can kill by horrible way / deep wound and painful omen / uncleaned and it’s open / let in the streptococcus / and other hocus pocus”), before the demented Unfinished Autopsy comes crushing your skull mercilessly, with an anguished intro and total havoc being the main ingredients in such hellish feast of Death Metal and Grindcore, with the entire band blasting sheer aggression and rage through their riffs, punches and beats. And as the icing on the cake we have their cover version for Finnish old school Death Metal/Grindcore band Necrobiosis’ A Painful End For Curiosity, originally released in a split album with a Hungarian band named Intense Agonizing in 1994. Well, their version is just as demonic, berserk and gory, and you can compare both by checking the original version HERE.

You can have your brain smashed by Galvanizer by taking a full listen at Sanguine Vigil on YouTube, and get to know more details about the band and their music on Facebook and YouTube. Hence, there’s no excuse for not supporting Galvanizer and not purchasing their visceral music, as Sanguine Vigil is on sale from several different locations, such as the band’s own BandCamp page, the Everlasting Spew Records’ BandCamp page or webstore, in different formats from the Me Saco Un Ojo Records’ webstore, as well as from Record Shop X, iTunes, Amazon and Discogs. Got it? Or should I say “gore” it?

Best moments of the album: Mood For The Blade, Deathbeat Deity and Gorefestation.

Worst moments of the album: None.

Released in 2018 Everlasting Spew Records

Track listing
1. Mood For The Blade 3:45
2. Enjoyment Of Annihilation 2:30
3. Deathbeat Deity 3:09
4. Sanguine Vigil 5:14
5. Grind Till… You’re Dead! 1:23
6. Domestic Mastication 3:03
7. Gorefestation 2:26
8. Premature Rot 2:28
9. Unfinished Autopsy 3:37
10. A Painful End For Curiosity (Necrobiosis cover) 3:04

Band members
Vili Mäkinen – vocals, bass
Aleksi Vähämäki – guitars, backing vocals
Nico Niemikko – drums

Album Review – Malefic By Design / Definitive Indication of Supremacy (2018)

Behold a band of underground veterans from Finland and their deadly debut full-length strike, a pulverizing opus that will summon you to a claustrophobic journey through blazing Armageddon.

Founded in 2015 in the city of Turku, Finland by underground metal veterans Mika Ikonen on vocals, Ville Pekkala, Sasu Haapanen and Miska Lehtivuori on the guitars and Antti Hakkala on drums (and if you haven’t noticed yet, there’s no bass player in their current lineup), who by the way have already released several previous efforts through multiple bands such as Searing Meadow, Ablaze In Hatred, Fall of the Leafe, Mormânt De Snagov and Devastracktor, Blackened Death Metal beast Malefic By Design has just released their deadly debut full-length strike, titled Definitive Indication of Supremacy, a pulverizing collection of catchy choruses and incendiary melodies that will certainly please all fans of modern extreme music.

Recorded in quiet solitude and far away from the public eye, Definitive Indication of Supremacy thoroughly blends the band’s Death Metal core essence with nuances from other styles such as Black and Doom Metal, summoning you to a sinister and claustrophobic journey through blazing Armageddon surrounded by a somber and devilish atmosphere.  The dark and primeval cover art is a good indication of what you’re going to face as soon as you hit play and start listening to the 12 Stygian tracks from Definitive Indication of Supremacy, showing Malefic By Design are among us to spread evil, hate and blasphemy. What else can you ask for in first-class Blackened Death Metal, right?

 The atmospheric and eerie intro Descending Sirens Of Evil opens the gates of the underworld to the demolishing Sickness Of Christ, a heavy and obscure Blackened Death Metal hymn with Mika delivering disturbing, deep growls while Antti dictates the rhythm with his precise beats. Then it’s time for almost seven minutes of pulverizing sounds and tones in Impending Doom, bringing together the most demonic elements of Black and Death Metal, with the band’s guitarists blasting a “melodic hell” with their strings; and the band goes full Black Metal in the visceral and brutal Enslaved By Birth, where Mika sounds more demented than before while Ville, Sasu and Miska bring forth another feast of satanic riffs and solos, resulting in one of the most complete (and therefore best) moments of the album.

Leaning towards traditional Scandinavian Melodic Death Metal, the band fires harmonious and visceral lines in the mid-tempo composition titled Repress The Oblivious, being beyond perfect for headbanging like a true disciple of darkness, whereas in Frozen Phantoms an ominous acoustic intro morphs into another explosion of blackened music by Malefic By Design, with the whole band being in some sort of demonic sync led by the boisterous drums by Antti, with Mika’s growls getting deeper and deeper as the music progresses. And Salvation For Everyone showcases hints of Symphonic Black Metal before reaching a frantic and heavy pace spearheaded by the once again furious drums by Antti, all embraced by a sinister background full of uncanny keyboard notes and sheer heaviness.

Medieval Beliefs is an old school Black and Death Metal creation tailored for succumbing to the dark side and snapping your neck headbanging, with the band’s stringed trio firing more of their diabolical riffs, creating an instant connection with the also very melodic Counterstrike Despise, also closer to more modern Melodic Death Metal while maintaining a vile aura in the background. Furthermore, Mika and his sick gnarls make a good balance with the delicate but fierce riffs by Ville, Sasu and Miska, which is also the case in Regenerated Reflections, an eerie fusion of contemporary Death Metal with traditional waltz (if that makes sense to you), also presenting elements from Doom and Dark Metal, and that amalgamation of styles results in a bold and thrilling chant with highlights to its beyond eccentric and obscure vocal lines. Then an enfolding atmosphere builds the stage for the heavy, mid-tempo Black Metal tune At The Gates, which despite being a good song it’s below the rest of the album in terms of electricity, falling flat after a while, fading into the acoustic outro Satanic Harmony, an interesting way to “depressurize” from all the madness blasted during the entire album.

In summary, Definitive Indication of Supremacy, which is available for a full listen on Spotify and for purchase through several channels such as the More Hate Productions’ BandCamp, Keltainen Jäänsärkijä, Record Shop X, iTunes, Amazon and Discogs, not only brings top-tier Blackened Death Metal to your avid ears from start to finish, but it also positions Malefic By Design as one of the strongest new names in contemporary Scandinavian extreme music. Now it’s just a matter of seeing how impactful their debut album will be on Finnish territory as well as worldwide, and when we’ll be able to savor more of the band’s pugnacious malignancy in the form of a new album.

Best moments of the album: Enslaved By Birth, Salvation For Everyone and Regenerated Reflections.

Worst moments of the album: At The Gates.

Released in 2018 More Hate Productions

Track listing
1. Descending Sirens Of Evil (Instrumental) 1:58
2. Sickness Of Christ 3:46
3. Impending Doom 6:39
4. Enslaved By Birth 3:11
5. Repress The Oblivious 4:17
6. Frozen Phantoms 3:58
7. Salvation For Everyone 4:23
8. Medieval Beliefs 4:00
9. Counterstrike Despise 4:23
10. Regenerated Reflections 6:11
11. At The Gates 6:41
12. Satanic Harmony (Instrumental) 1:44

Band members
Mika Ikonen – vocals
Ville Pekkala – guitars
Sasu Haapanen – guitars, vocals
Miska Lehtivuori – guitars, vocals
Antti Hakkala – drums

Album Review – Inkvisitor / Dark Arts of Sanguine Rituals (2018)

After suffering major lineup changes, this underground Finnish thrashing machine is back with a concept album following a neo-noir murder mystery story laced with black magic and necromancy elements.

After going through major lineup changes in the past couple of years, Jyväskylä-based Thrash Metal squad Inkvisitor is finally back with their second full-length installment, titled Dark Arts of Sanguine Rituals, following up their fun and frantic full-length debut album Doctrine of Damnation, released in 2015. Part new Inkvisitor, part swansong of the old Inkvisitor, the album introduces the band’s new lead singer Markus Martinmäki and new drummer Tino Jäntti, while at the same time it also farewells their second guitarist Lauri Huttunen (not to mention their old friend and bassist Pekka Hölönen played bass on the album as a session musician).

Featuring an old school cover art by Petteri Ylitalo (Dear Death Designs), Dark Arts of Sanguine Rituals is a concept album following a neo-noir murder mystery story laced with black magic and necromancy elements, with a single storyline progressing through the songs, and that’s one of the most remarkable changes from the band’s previous album, where lyrics revolved around the usual topics most Thrash Metal bands sing about such as nuclear warfare and beer. Another major change are the vocals by Markus, sounding a lot raspier than the Joey Belladonna-inspired style from their previous vocalist, adding an extra touch of aggressiveness to the entire album. In the end, although Inkvisitor are playing a different type of Thrash Metal in the new album, as aforementioned their core essence remains intact, resulting in a more-than-healthy and fun clash between their past and present musicality.

Starting in an Anthrax-like way, with both guitars exhaling metallic sounds while Tino pounds his drums mercilessly, the title-track Dark Arts of Sanguine Rituals feels a lot more hardcore and pugnacious than their previous album (mainly thanks to the visceral screams by Markus, as already mentioned), and their hostile Thrash Metal extravaganza goes on in another circle pit-catalyst named Second Sacrament, with both guitarists Mikko Saviranta and Jesse Kämäräinen (as well as the departing Lauri) sounding infernal with their riffs, not to mention how bestial Tino is once again behind his drums. More modern and heavier than its predecessors and featuring the only  guest  musicians of the album  on  lead  guitars  (Sebastian Frigren and Kasper Koutonen, of  Nuclear  Omnicide  and  Devenial  Verdict), A Shadow Suspended by Dust brings massive, rumbling bass sounds which set the perfect stage for Markus and his demented growls, inspiring us to crack our necks in half headbanging.

Then speeding up their pace and mixing elements from traditional Hard Rock, Punk Rock and Rock N’  Roll with their frantic Thrash Metal, Inkvisitor deliver a full-bodied thrashing extravaganza named The Confession, with highlights to the incendiary performances by Markus and Tino. Moreover, it’s quite impossible to stand still to such high level of electricity and insanity, which can also be said about Mindslaver, another Anthrax-inspired tune with classic guitar riffs and headbanging beats, presenting lyrics about how our society has failed and how we need to start everything over (“Mankind has failed, brotherhood has been lost / The prison of the mind / And the cancer of your soul / Complete the ritual, sacrifice your family / Through death you ́ll be born again / Reclaim your throne”). In Necromancy Cascade, a slower but still very heavy and impactful composition, Markus delivers deeper, more introspective vocals while the energy in the music remains at a decent level (it never really takes off, though, falling flat after a while); whereas Paradigm Shift is a berserk, demented and totally awesome hymn by Inkvisitor showcasing all elements we love in old school Thrash Metal, with the demolishing drumming by Tino dictating the rhythm while the stringed trio Mikko, Jesse and Pekka sounds absolutely thunderous with their riffs, solos and punches.

Violence keeps flowing from all instruments in the belligerent War is Path to Victory, a song tailored for slamming into the pit with your friends while Markus screams its lyrics right in your face (“What do I think I know ́bout war? / Spare a life hand over your own / Violence consists of certainty / That war is a path to victory”), before the imposing and ruthless The Revenant (Redeemer) closes the regular version of the album, bringing to our avid ears menacing drums and bass lines, soulful riffs and solos, and the most demonic vocal lines of the entire album. And last but not least, as a bonus track for the ones who buy the album either in CD or digital (and you also get an instrumental version of the whole album and a 12-page booklet with liner notes) we have Quagmire Twilight (Deleted Scene), Inkvisitor’s darkest creation, a doom-ish tune with obscure vocal lines and piercing bass lines, with that dark and heavy aura going on until the song’s devilish ending.

As aforementioned, this new version of Inkvisitor is just as electrifying and heavy as their previous release, sounding more unfriendly (in a good way) due to their new vocal approach, and if you like what the band has to offer in this new phase you can purchase Dark Arts of Sanguine Rituals (available for a full listen on Spotify) from the band’s own BandCamp page, from Record Shop X, or from iTunes, and don’t forget to follow them on Facebook and on YouTube for more of their music, news, tour dates and all things Inkvisitor. Let’s hope that Inkvisitor’s days of major lineup changes are over and that they can now focus on touring and writing more Thrash Metal, because based on what they’re offering us all in Dark Arts of Sanguine Rituals the band is on a beyond promising (and thrashing) path to success.

Best moments of the album: The Confession, Mindslaver and Paradigm Shift.

Worst moments of the album: Necromancy Cascade.

Released in 2018 Independent

Track listing
1. Dark Arts of Sanguine Rituals 3:31
2. Second Sacrament 3:24
3. A Shadow Suspended by Dust 5:14
4. The Confession 3:39
5. Mindslaver 3:42
6. Necromancy Cascade 5:49
7. Paradigm Shift 4:38
8. War is Path to Victory 4:46
9. The Revenant (Redeemer) 5:45

Bonus track
10. Quagmire Twilight (Deleted Scene) 5:29

Band members
Markus Martinmäki – vocals
Mikko Saviranta – guitar
Jesse Kämäräinen – guitar
Sakari Soisalo – bass
Tino Jäntti – drums

Guest musicians
Lauri Huttunen – second rhythm guitar & lead guitar on “Second Sacrament”
Sebastian Frigren & Kappe Koutonen – lead guitars on “A Shadow Suspended by Dust”
Pekka Hölönen – bass (recording)
Kalle Raijonkari & Sampo Riikkilä – additional gang vocals

Album Review – Dark Archive / Cultivate Our Blood In Aeon EP (2018)

Sharing the same admiration and respect for the beauty of darkness and Satan, this infernal Finnish duo will pulverize your senses with 17 minutes of ruthless and vibrant Black Metal.

Formed in the summer of 2016 in Finland by vocalist and lyricist Niko “Perdition” Aromaa and composer and multi-instrumentalist Joakim “Lord Mordor” Lindholm, with a vision to form a Black Metal band that would create something fresh and something which would stand out from the scene, the demonic entity known as Dark Archive is ready to spread darkness upon the earth with their brand new EP titled Cultivate Our Blood In Aeon. Considering themselves as a satanic band, with both Niko and Joakim sharing the same admiration and respect for the beauty of darkness and Satan, Dark Archive will pulverize your senses with each of the five tracks in Cultivate Our Blood In Aeon, making you feel all that darkness growing inside you during the album’s 17 minutes of ruthless extreme music.

Sinister sounds are suddenly joined by a sulphurous onrush of Black Metal in the opening track, Cultivate Our Blood In Aeon, with Joakim blasting demonic beats and riffs nonstop while Niko growls the song’s blasphemous and poetic lyrics in a rabid way (“Hunger holds their brethren, as they hold this world dominion, even voices of our fathers can’t describe this burden / Beneath their holy sculptures, they see us as aberrations to their perfect heaven frame, we are the caricature”). Put differently, if you want violence, Dark Archive will give you violence, which can also be said about Closure Of Empyrean Delirium, where the duo brings modern and deranged Black Metal for your avid ears. In this flammable tune, Niko keeps screaming like a savage beast while Joakim continues to pave his path of devastation, with the overall result sounding like a less symphonic version of the early days of Dimmu Borgir.

Their fusion of contemporary Blackened Death Metal and old school Black Metal gives form to another hellish composition titled Godfear Eradication, where Joakim kicks some serious ass with his scorching riffs while austere words are aggressively vociferated by Niko (“While they burden their grief / While puppets dance behind the curtains / Waiting to unleash / Still they flood air with words from bible / Toxic as gas”); followed by the pulverizing Unohda Ei Ikinä, or “never forget” from Finnish, with its demonic guitar riffs crawling deep inside your skin, sounding as belligerent, demented and enraged as it can be, but still bringing tons of harmony and feeling in an amazing exhibit of modern-day Extreme Metal. And the duo has time for one final blast of absolute darkness and hatred entitled Essence Of Death, with both Niko and Joakim sounding extremely vile and sharp with their harsh growls, fierce riffs and thunderous drums.

Cultivate Our Blood In Aeon, which by the way is available for a full listen on Spotify, certainly points to a dark future (in a good way, of course) for Dark Archive, and if you want to show your support for such up-and-coming name of the underground extreme music scene go check their Facebook page for news and tour dates, their YouTube channel and SoundCloud page for more of their disturbing music, and obviously grab your copy of the EP from their own BandCamp page or from iTunes. If this demonic Finnish duo was capable of creating such high level of devastation and obscurity in just a little over 17 minutes, can you imagine what they’ll be able to accomplish when they release their first full-length opus?

Best moments of the album: Cultivate Our Blood In Aeon and Unohda Ei Ikinä.

Worst moments of the album: None.

Released in 2018 Inverse Records

Track listing
1. Cultivate Our Blood In Aeon 4:03
2. Closure Of Empyrean Delirium 2:22
3. Godfear Eradication 4:31
4. Unohda Ei Ikinä 3:36
5. Essence Of Death 2:40

Band members
Niko “Perdition” Aromaa – vocals
Joakim “Lord Mordor” Lindholm – all instruments

Album Review – Sata Kaskelottia / Sydän On Vuori (2018)

The most unconventional gam of sperm whales hailing from Finland strikes back with more of their flammable fusion of Stoner and Progressive Metal.

After three long years of writing and recording, the most unconventional gam of sperm whales hailing from the Finnish capital Helsinki is back with a brand new album, ready to show us all that the human heart is a mountain. If that doesn’t make any sense to you, then you should definitely take a listen at Sydän On Vuori (Finnish for “heart is a mountain”), the brand new album by Stoner/Progressive Metal act Sata Kaskelottia, following the success of the band’s 2015 debut self-titled release while experimenting with new sounds and nuances and exploring the breaking points of life, points in which difficult choices have to be made.

Sata Kaskelottia’s combination of progressive, darker tones and often catchy, lighter and strangely triumphant mood produces a unique musical blend that walks its own path, with Sydän On Vuori introducing the band’s evolved sound and songwriting. Comprised of Eetu Kauppinen on vocals and guitar, Matti Kangaskoski on the guitar, Markku Suoniemi on bass, and Ville Salonen on drums and percussion, Sata Kaskelottia, which means “one hundred sperm whales” (if you don’t know that already), are beyond sharp and electrified in Sydän On Vuori, and if you’re a fan of the music by bands such as Mastodon and Baroness I’m sure you’ll have a good time listening to the nine tracks of unrelenting rock and metal found throughout the album.

We need only a few seconds in the opening track Aamumandaatti (“the morning mandate” from Finnish) to know we’re dealing with the “Finnish Mastodon”, with the guitars by Eetu and Matti sounding as sharp as a sword, not to mention you’ll certainly feel compelled to sing along with the band even knowing nothing in Finnish. Just as psychedelic and heavy as its predecessor, Leskentekijä (“widow’s origins”) is a well-balance hybrid between Stoner and Progressive Metal, with Ville bringing an extra dosage of electricity with his intricate beats while Eetu keeps firing his wicked vocals nonstop; followed by Parantaja (“the healer”), where the whole band speeds things up a bit sounding more aggressive, rawer and denser, with the music being led by the crushing riffs by both Eetu and Matti. In addition, the bass guitar by Markku sounds thunderous and metallic, adding an extra dosage of heaviness to what’s by far one of my favorite songs of the album.

Samarkand might be known as a city in modern-day Uzbekistan and one of the oldest continuously inhabited cities in Central Asia, but from now on it should also be recognized as a lesson in Progressive and Sludge Metal, with its guitar lines and rhythmic beats inspiring you to bang your head together with the band, whereas the title-track Sydän On Vuori begins in an atmospheric, almost psychedelic way, evolving into a dark and deep Stoner Metal feast with Markku and Ville smashing their respective instruments, therefore creating a beyond obscure background of sounds. And in Ennen Kuin Sateet Alkavat (“before the rain begins”), Sata Kaskelottia deliver sheer electricity through their music weapons in a top-of-the-line fusion of Stoner Metal with old school Rock N’ Roll and modern Hard Rock, with highlights to the fantastic job done by Eetu with his demented vocal lines.

Bringing elements from traditional Heavy Metal to their musicality (which ends up giving it an epic vibe), the band offers the listener the vibrant Musta Tähti (“black star”), once again showcasing Eetu and Makki in absolute sync with their riffs; while Lumimies (“abominable snowman”) lacks the same punch and energy from the rest of the album, despite presenting melodious guitar lines and a solid performance by Markku on drums. And lastly, instead of another hard and heavy tune, Sata Kaskelottia surprise us all with a pensive ballad titled Ovet (“doors”), closing the album in a unique and very interesting manner, with Eetu leading the sonority with his introspective vocals until the song’s somber finale.

What are you waiting for to dive into the sea of Progressive and Stoner Metal ruled by Sata Kaskelottia? You can listen to their new album in full on Spotify, follow them on Facebook for new and tour dates, listen to more of their music on YouTube and on SoundCloud, and buy a copy of Sydän On Vuori from their BandCamp page, from Record Shop X, on iTunes or on Amazon. As you might already know, there’s nothing better than listening to the potent nad harmonious metal music blasted by one hundred sperm whales, and the new album by Sata Kaskelottia is here to show us that.

Best moments of the album: Aamumandaatti, Parantaja and Ennen Kuin Sateet Alkavat.

Worst moments of the album: Lumimies.

Released in 2018 Rhoska Records

Track listing
1. Aamumandaatti 5:03
2. Leskentekijä 4:54
3. Parantaja 3:30
4. Samarkand 5:19
5. Sydän On Vuori 5:16
6. Ennen Kuin Sateet Alkavat 4:01
7. Musta Tähti 5:39
8. Lumimies 5:14
9. Ovet 4:56

Band members
Eetu Kauppinen – vocals, guitar
Matti Kangaskoski – guitar, vocals
Markku Suoniemi – bass, vocals
Ville Salonen – drums, percussion

Album Review – Forte Ruin / Rebuilding the Machinery EP (2018)

A talented six-piece Melodic Death Metal act from Finland returns with a brand new EP where they step up their game in terms of quality, intricacy and professionalism.

If you’ve been following The Headbanging Moose for a few years already, you might remember a Finnish Melodic Death Metal band from the city of Lahti named Forte Ruin, who released in 2015 their debut self-titled EP comprised of three original compositions filled with memorable melodies, powerful riffs and catchy choruses. Now in 2018 that talented six-piece metal act returns with a brand new EP entitled Rebuilding the Machinery, where not only they step up their game in terms of quality and intricacy, but the band formed by Arttu Ruusunen on lead vocals, Saku and Samu Aaltonen on guitars and backing vocals, Arto Viitanen on bass and backing vocals, Veli-Matti Kyllönen on keyboards, and Jere Aaltonen on drums sounds a lot more professional and ready to spread their music throughout the four corner of the earth.

And the EP kick off in full force with Down in Perdition, a very melodic and pounding creation by the sextet showcasing clean and rumbling sounds, spiced up by the futuristic keys by Veli-Matti while Arttu growls the song’s poetic lyrics rabidly (“All these revelations and present / Are finally align so that we’ll understand / Our time here has come to an end / In perdition we could meet again perchance”). Furthermore, Saku and Samu not only deliver excellent riffs during the whole song, but their solos are also beyond thrilling. Then deeply rooted in classic Scandinavian Melodic Death Metal we have the title-track Rebuilding the Machinery, faster than its predecessor and presenting a great balance between visceral growls and clean vocals, as well as a great job done by all band members with their instruments, in special Jere with his fierce and rhythmic beats.

Displaying hints of American Alternative and Nu Metal (and once again with the keys by Veli-Matti bringing a whimsical aura to the musicality), Colony Collapse Disorder exhales sheer electricity, with Arto delivering thunder through his menacing bass lines while the guitar solos elevate the song’s impact and taste considerably. In Electric Frames, just like what they did in their previous EP, Forte Ruin add nuances of Jazz and electronic music to their Scandinavian Metal, and the the final result couldn’t sound more fantastic, all boosted by the song’s lyrics which seem taken from a song from the 70’s (“Great illusion within’ electric frames / We can see the integration / While we process all the traveling light / Of electric frames”). And Saturation Point, featuring guest vocals by Jules Näveri from Profane Omen, is tailored for banging your head nonstop or playing some ass-kicking air guitar, with the bass lines by Arto bringing tons of groove to the musicality while the keys by Veli-Matti keep adding a touch of delicacy to the overall result.

Featuring a modern and sinister artwork by Finnish artist Marianna Maaninka, Rebuilding the Machinery not only has all the elements we search for in Melodic Death Metal, but it also brings additional layers of intricacy and feeling thanks to all other music styles Forte Ruin incorporate in their music, and in order to show your proper support to this Finnish squad go check their Facebook page, YouTube channel and Spotify for news and more of their music. You can purchase Rebuilding the Machinery from their own BandCamp page, as well as from Record Shop X or CD Baby, and add such distinct collection of Scandinavian Metal songs to your personal playlist, courtesy of a band that might be taking their initial steps in the world of heavy music, but that at the same time already sounds like veterans due to the high quality of their compositions and their utter professionalism.

Best moments of the album: Rebuilding the Machinery and Electric Frames.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Down in Perdition 4:18
2. Rebuilding the Machinery 3:57
3. Colony Collapse Disorder 4:29
4. Electric Frames 4:24
5. Saturation Point (feat. Jules Näveri) 6:27

Band members
Arttu Ruusunen – lead vocals
Saku Aaltonen – guitars & backing vocals
Samu Aaltonen – guitars & backing vocals
Arto Viitanen – bass & backing vocals
Veli-Matti Kyllönen – keyboards
Jere Aaltonen – drums

Guest musician
Jules Näveri – guest vocals on “Saturation Point”

Metal Chick of the Month – Elina Siirala

The heat that licks my skin, it takes me high…

Brothers and sisters of metal, let’s all get together to praise our metal chick of the month of April 2018, the stunning Finnish soprano and vocal coach Elina Siirala, better known for being the founder and frontwoman for English Melodic Metal band Angel Nation (formerly known as EnkElination), and for joining German Symphonic/Viking Metal act Leaves’ Eyes as the second female vocalist in the history of the band, replacing the iconic Liv Kristine. Having said that, are you ready to know more about such talented musician, and obviously head into the battlefield side by side with her?

Elina was born on October 27, 1983 in the Finnish capital Helsinki, being the second cousin of Tuomas Holopainen, well known founder and keyboardist of Nightwish. And let’s say that music truly runs in her veins as her whole family is comprised of musicians, not to mention she’s the third generation of teachers, with her passion for singing having started at a very young age when she was only 5 years old. Both her parents are teachers at the renowned Sibelius Academy in Helsinki, and her brother works as a professor in Munich, which means there was a lot of singing, playing and listening to music in her life while she was growing up. One funny story about her passion for music was that she basically begged her parents to start violin lessons, even building her own violin out of a piece of wood and rubber bands. She ended up playing the violin for seven years and also learned how to play piano by herself, but in the end singing was always what she loved the most in music.

After taking singing lessons at the age of 17, Elina got into the Metropolia University of Applied Sciences in Helsinki two years later, completing a Bachelor’s degree in classical music and performing in operas and concerts during that period, and after finishing her studies she decided to broaden her knowledge by moving from Helsinki to London, England, where she spent another year studying contemporary styles such as Rock & Soul (a very challenging one vocally speaking according to Elina herself), a course that also included a lot of performing by the way. In addition, throughout all those years of study, she was also a music teacher and wrote a lot of music, which culminated in 2011 with the creation of her own band EnkeliNation. As a matter of fact, her move to London was the true catalyst of her love for heavy music, with some hard times in her personal life being a source of inspiration for her music and lyrics.

In regards to her career with Angel Nation, as aforementioned it all started in November 2011 when she formed the band under the name EnkElination, with the band’s name being a play on words featuring “enkeli”, which is the Finnish word for “angel”, and also her own name “Elina” in the middle, changing the name to Angel Nation in 2016. Elina was initially joined by guitarist Shadow (Empyreal Destroyer, Stand Aside, Shadow Venger), playing the local London scene and developing the band as a live act while going through several lineup changes during the band’s first few years. Angel Nation also played a few important European festivals such as Bloodstock Open Air, Lankafest and The Dames of Darkness Festival, having released so far in their career the three-track, download-only EP titled Never Ending in 2012, and the albums Tears of Lust, in 2014, and Aeon, in 2017, as well as a couple of singles. Currently comprised of Elina on vocals and keyboards, Sonny Antoniou on the guitar, Julia B Cadau on bass, and Lucas Williamson on drums, Angel Nation play classic, straightforward Symphonic Metal, and you can enjoy their stylish music on their official YouTube channel, having the pleasure of listening to Elina’s powerful vocals in songs like Last Time Together (also available as an acoustic live version), Do It Anyway, and Tears Of Lust, as well as other live videos and special announcements.

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During one of the concerts where Angel Nation worked as a supporting act, Elina came up to the attention of Leaves’ Eyes, being invited in 2016 to join the band to replace their departing singer Liv Kristine. And she started touring and recording with Leaves’ Eyes immediately after joining the band, including a tour with Leaves’ Eyes alongside Sabaton in the United States in 2016 (while at the same time still managing and fronting Angel Nation), and some very unique concerts like the one in Indonesia where she sang in front of 21,000 people despite the heavy tropical storm that hit the venue before the gig, and a small but fully packed venue in Belgium that she considers one of the hottest shows she’s ever done, feeling like a sauna on stage. Since Elina became the new frontwoman for Leaves’ Eyes, the band has already released a handful of singles; an EP titled Fires in the North, in 2016, which includes an original song (also presented in acoustic format) and three re-recorded songs from the band’s 2015 album King Of Kings; and now in 2018 their first full-length album with Elina on vocals, entitled Sign of the Dragonhead. You can have a very good time together with Elina and Leaves’ Eyes by listening to excellent songs such as Edge of Steel, Across The SeaFires in the North, Jomsborg, and Sign Of The Dragonhead. When asked about her favorite songs by Leaves’ Eyes, our dauntless Valkyrie mentioned Take the Devil in Me (from the band’s 2010 album Njord) and Sacred Vow (originally from King Of Kings, but re-recorded with Elina on vocals for their EP Fires in the North) as two songs she would definitely add to her personal playlist, while Edge Of Steel and Swords In Rock (both also from King Of Kings and re-recorded with Elina on vocals for their EP Fires in the North) might be the ones she has the most fun playing live.

As previously mentioned, our Finnish diva has also been a vocal coach and teacher since she was 19, as during her years studying classical singing there was a a large variety of subjects such as music history, music theory and also music teaching, giving classes and lessons about breathing technique, vocal exercises (vocal placement and projection), stylistic awareness, repertoire, and stage and performance technique. Elina mentioned that she really loves teaching and that it’s been a pleasure for her to have already had many different students over the years, saying it’s at the same time challenging and rewarding. Of course, having to balance between Angel Nation and Leaves’ Eyes together with her vocal coach and teaching activities is not an easy task, with very little free time left, something she has to manage by scheduling and planning well in advance. Furthermore, she mentioned in one of her interviews that whenever she has some free time, she likes seeing her friends, watching movies and relaxing, also saying she doesn’t really have any time for hobbies. And to stay in shape on and off tours, Elina said she has an active lifestyle, practicing all kinds of sports to keep her fitness up, and while she’s on tour she said that being on stage is already a good workout for her, always resulting in her losing some weight.

Lastly, when asked about her biggest idols in music, and singers she admires and that inspired her in any way, Elina said that she really likes female singers such as Dutch goddess Sharon den Adel (from Within Temptation) and Whitney Houston, as she enjoys all kinds of styles, while her favorite male singers are Spanish tenor, conductor and arts administrator Placido Domingo, who she used to idolize when she was a teenager, and the one and only British icon Freddie Mercury, her all-time inspiration as a singer. Anyone who admires Mr. Freddie Mercury already deserves our utmost respect, and when that person is as talented, energetic and hardworking as our unstoppable Finnish banshee Elina Siirala, things get even better and more epic.

Elina Siirala’s Official Facebook page
Elina Siirala’s Official Twitter
Elina Siirala’s Official Instagram
Angel Nation’s Official Facebook page
Angel Nation’s Official Twitter
Angel Nation’s Official Instagram
Angel Nation’s Official YouTube channel
Leaves’ Eyes’ Official Facebook page
Leaves’ Eyes’ Official Twitter
Leaves’ Eyes’ Official Instagram
Leaves’ Eyes’ Official YouTube channel

“I think it’s amazing how much emotions music can awaken in people, how it can change your mood and bring back memories. It’s the perfect way of expressing myself as an artist and sometimes writing songs is almost like therapy that helps you through hard times. Compared to other instruments I’ve played, singing is definitely the most personal for me as I’m actually the instrument and I get to express everything through my own voice and of course lyrics.” – Elina Siirala

Album Review – Mors Subita / Into the Pitch Black (2018)

Exploring a darker-than-usual path in their brand new album, this Finnish squad has all it takes to become a reference in modern and aggressive Melodic Death Metal.

Formed in 2000 in Oulu, a city located in central Finland, Mors Subita (Latin for “sudden death”) play what can be called “Aggressive Modern Melodic Death Metal”, having released since their inception two demos, two EP’s and two critically acclaimed full-length albums, the first titled Human Waste Compression, in 2011, and the second titled Degeneration, in 2015, which peaked at number 26 on the official Finnish album charts. Now after three years of touring and recording, the band comprised of Eemeli Bodde on vocals, Mika Lammassaari (Eternal Tears of Sorrow, Wolfheart) on guitars and backing vocals, Mika Junttila on bass, and Ville Miinala (Thyrane, Darker Grounds) on drums returns with a blistering new 11-track album titled Into the Pitch Black.

This new album from Mors Subita showcases just how far the band’s songwriting and musicianship has developed since the debut of their sophomore album, with these 11 new tracks being a testament to the work ethic employed within the band. With searing vocals, gut twisting melodies, fierce drumming and the fast yet always tasteful riffing the band has come to be known for, Into the Pitch Black builds on the identity Mors Subita has forged for themselves with their previous albums, and promises to not disappoint even the most hardened melodeath fan. These new compositions present a new dimension to the ever-evolving sound of the band, with even more emphasis being given to the melodies while also incorporating the use of industrial samples not heard on previous releases. The result has manifested in some of the heaviest and crushing tracks the band has ever written, while still encapsulating their signature sound which has set them apart from all others in the melodeath scene.

The short, futuristic intro Path to the Abyss revs up the engines for the melodic and aggressive As Humanity Weeps, with its lyrics about how vile the human soul can be (“How much more blood is there to shed before you realize, / That no one has the right to take another’s life. / Feed them pain, feed them fear. / Reduce yourself to human filth.”) and all the sonic devastation going on matching perfectly with the proposed theme. After such great start, the band fires another potent tune titled Dead Sun, where the guitar by Mika couldn’t sound more metallic and vibrant, while Eemeli delivers sheer rage through his screams in a solid display of modern Scandinavian Metal. And in Defeat we face contemporary sounds and tones in a very melodic and exciting atmosphere, again bringing Mika’s lancinating riffs and endless violence.

In the title-track Into the Pitch Black, they engage in their most Scandinavian Melodic Death Metal mode, with Mika doing a great job with his riffs while Ville keeps the rhythm at a nice headbanging pace with his beats. Then in Alas Ville puts the pedal to the metal with his accelerated beats and double bass, accompanied by the metallic bass by the band’s other Mika (Mika Junttila), generating a thrilling vibe for Eemeli and his visceral growls, therefore keeping the album at a high level of adrenaline and fury. And Mors Subita managed to get even more ferocious and angry in the belligerent tune I, God, with all band member being on fire (in special Ville with his Black Metal-inspired beats), resulting in a top-notch Melodic Death Metal extravaganza for our total delight.

Never slowing down or selling off, they keep blasting anti-mainstream compositions like Vultures, showcasing very melodic guitar lines by Mika while Ville increases the intricacy of his beats; followed by Fear is Just the Beginning, presenting three minutes of demolishing riffs and beats, with the screams by Eemeli getting to a truly rabid stage. Hence, this song will certainly incinerate the crowd and incite them to slam their skulls into the circle pit. Despite its promising beginning and the solid work done on guitars during the entire song, the music in Shadows falls flat after a while, proving Mors Subita should stick to their most furious sounding to thrive. Fortunately, those Finnish metallers get back on track for one final blast of enraged Melodic Death Metal titled The Void, ending the album on a high note with highlights to the bestial job done by Ville on drums and Eemeli’s demented vociferations.

If you want to feel all the rage and violence flowing from the music by Mors Subita in more detail, I suggest you check their official Facebook page for news and tour dates, their YouTube channel and Spotify for more of their incendiary Melodic Death Metal, and obviously purchase Into the Pitch Black from the Inverse Records webstore, from Record Shop X, or from other physical and online retailers such as metalmailorder.com. The name Into the Pitch Black not only gives a sense of obscurity to the entire album, but it also points to a heavier (and consequently more interesting) future for Mors Subita, a band I’m sure will have a lot of fun exploring this new darker path in their future releases, which in the end will be extremely beneficial for themselves and, above all, for fans of their more austere form of melodeath music.

Best moments of the album: As Humanity Weeps, Into the Pitch Black and I, God.

Worst moments of the album: Shadows.

Released in 2018 Inverse Records

Track listing
1. Path to the Abyss 0:35
2. As Humanity Weeps 4:08
3. Dead Sun 3:49
4. Defeat 4:41
5. Into the Pitch Black 4:22
6. Alas 4:42
7. I, God 4:01
8. Vultures 3:01
9. Fear is Just the Beginning 3:20
10. Shadows 5:06
11. The Void 7:03

Band members
Eemeli Bodde – vocals
Mika Lammassaari – guitars, backing vocals
Mika Junttila – bass
Ville Miinala – drums