Shadowdoom9 (Andi)'s Reviews

Once again, I'm in yet another attempt in reviving the heavy/power metal interest I had 10 years ago with some new bands I've discovered, thanks to a new outside-world friend of mine. I finally get the appeal of bands like Grailknights, Beast in Black, and Powerwolf, along with this interesting melodic band from Sweden...

Tungsten was formed by ex-Hammerfall drummer Anders Johansson, together with his two sons, Nick and Karl, on bass and guitar, respectively. The only unrelated member is lead vocalist Mike Andersson. The band has a heavy/power metal sound similar to HammerFall, but with more symphonic/trance influences. One song they go the folk/pirate metal route of Alestorm, and another they test out the NDH/industrial metal of Rammstein. Still, their melody is essential, as heard in their new album Bliss!

Hitting the album hard to kickstart it is the industrial-infused stomper "In the Center". You don't often get to hear heavy/power metal blended with industrial metal, but it's an incredible addition to the band's sound. The melodic "Dreamers" takes on the more folk-ish side of the sound of sounds. Anyone with creative imagination knows the journey through a forest a warrior must take to find his true love. The Rammstein-fueled "March Along" then thunders in. Unlike the more melodic songs, that one's just a straight-on industrial metal march. Nonetheless, it's great hearing this diverse experimentation. Throwing back to Anders' earlier days in HammerFall, "Heart of Rust" has the mid-tempo heavy/power metal sound that band is known for. A bombastic blast from the past!

The swift mover "Come This Way" once again has the experimental heaviness of Rammstein gone Judas Priest. The heavy/melodic blend really stomps along. The folk/pirate metal in this album, I'm not kidding about, because of the next song "On the Sea", an Alestorm-esque anthem with a chorus worth singing along to. A definite highlight and the one song from this band my outside-world friend shared that made interested in checking out this album. The title track shows the band at its darkest and heaviest. It storms through loudly, only lightening up for another singalong chorus to get the live crowd engaged. The incredible power is maintained in "Wonderland", but this time with a different twist compared to the previous track. It's a nice catchy song to almost dance along to and exemplifies what to expect from melodic heavy/power metal. And if you think there would be any more industrial metal after this, these next few songs will prove you wrong...

"Afraid of Light" lets the variation of sound expand more as practically a Celtic jig. You would never be afraid of dancing to the addictive rhythm. "Eye of the Storm" has the majesty of heavy/power metal without any additional details. Lots of upbeat energy without ever resorting into anything different. The 6-minute final epic "Northern Lights" directs everything in the album's sound front and center. It starts with a mellow intro, then makes a slow heavy buildup, leading up to none other than a thunderous hymn. This anthem closes the final curtain with all they've achieved in the album.

All in all, Bliss is a diverse journey through Tungsten's spiced-up heavy/power metal style. If you ever wanna hear all the different styles of HammerFall, Alestorm, and Rammstein combined together, look no further. After you finish listening to this album, I guarantee you'll be up to hearing it all again!

Favorites: "In the Center", "Heart of Rust", "On the Sea", "Wonderland", "Eye of the Storm", "Northern Lights"

What's up, dragon warriors?!? The power metal heroes of the new millennium are back after almost 5 years since their previous album! Well, I wouldn't say everybody would call this band heroes. Some might not like them as much as I and others do. They're basically my heroes because they're the first ever band to get me into metal, and they showed me what power metal should really be; fast tempos and technical soloing added to the genre's usual dose of epic and uplifting melody. The band have just reached album #9, Warp Speed Warriors, and they still have their creativity and speed within.

When lead vocalist Marc Hudson joined the band, some changes were made compared to the ZP Theart era. The songs are shorter and more restrained in length (except for an 11-minute epic), but they've added more adventurous diversity. Warp Speed Warriors sees the band exploring different territories as they did in Extreme Power Metal while not drastically diverting from their usual sound. So expect the usual speed, anthemic power, slight humor, and a cover song more powerful than its original.

The anthemic opener "Astro Warrior Anthem" has the band's signature speedy sound as intended. I'm talking about exhilarating speedy power metal with occasional glitchy video-game noises. Yet another grand album opener that does justice to the band's vision! Then we have the catchy "Power of the Triforce", paying tribute to The Legend of Zelda, mostly A Link to the Past. Having been released as a pre-release album single, longtime fans were concerned thinking they were moving further away from their early glory. Nonetheless, it should definitely please the live crowd. "Kingdom of Steel", despite its power metal title, interestingly lightens things up as an 80s rock-inspired ballad.

Then we hit earth-shattering speed in "Burning Heart" with its blazing hammering fury, apart from a retro synthwave bridge. One of the most killer highlights here! Then "Space Marine Corp" takes you on a goofy fun Warhammer-inspired space adventure with gang vocals and a drill sergeant bridge. Also the first ever DragonForce song to have a swear word in the chorus?! Likely so! "Doomsday Party" is the first hint at this album, and a perfect catchy singalong single of disco-metal. LET'S F***ING GO!!!

"Prelude to Darkness" is an under one-minute interlude, which sounds cool but I'm not sure it was necessary to separate from the song it segues into. "The Killer Queen" is a killer (pun somewhat intended) standout of upbeat speed and melody like many other songs by the band. The final part of the non-CD edition, "Pixel Prison" is a true grand experience of every old and new thing the band has done, with some of the most adventurous ideas the band has had to date, all while guided through lyrics inspired by video games in general. EPIC!! The CD edition has a neat metalized cover of the Taylor Swift hit "Wildest Dreams". It still can't beat the previous album's Celine Dion cover though.

The deluxe edition comes with alternate editions of several tracks, the first 3 of which have guests; "Astro Warrior Anthem" featuring Matt Heafy (Trivium) singing the verses and Nita Strauss performing her own solos, "Burning Heart" featuring Alissa White-Gluz (Arch Enemy), and Doomsday Party" featuring Elize Ryd (Amaranthe). Talk about a powerhouse of metal guests! And they all perform their roles well. "Power of the Triforce" also appears in the bonus disc, albeit an instrumental version. That's too bad, I was hoping for some guest vocals for that song by Thomas Winkler (Angus McSix, ex-Gloryhammer) and/or Tommy Karevik (Kamelot, ex-Seventh Wonder). I also used to hope for the Beat Saber-exclusive "Power of the Saber Blade" as a bonus track too, but it sounds so similar to "Burning Heart" that it seems redundant and it's fine being left out.

DragonForce still have their strength in the diverse Warp Speed Warriors, but what will happen next? Will their setlist have great updates in their upcoming tour? Will session keyboardist Coen Janssen join DragonForce full-time at the cost of his time with Epica? And will their parody album plan happen? Only time will tell.... Hail the warriors!

Favorites: "Astro Warrior Anthem"*, "Burning Heart"*, "Doomsday Party"*, "The Killer Queen", "Pixel Prison"

*Including guest vocalist editions

Imagine what Fear Factory would sound like if they kept their industrial death metal sound going after Soul of a New Machine. I could practically say that about any band mixing together industrial metal and death metal, but this is for real! Flesh is Heir has the best you can find from this combination these days.

A journey through a band's discography often starts from their latest or first album. It's not usually right in the middle unless you find it out of the blue, whether it pops up or gets recommended to you. Upon discovering The Amenta via their 3rd album, my mind was blown by how perfectly the band could reinvent the industrial death metal of Fear Factory's debut. Other bands have tried it and didn't catch on, but with Flesh is Heir, you know you're in for a mind-f***ing brutal attack.

Bleak doom-ish tremolo melody opens the title track that then blasts off into deathly chaos. "Ego Ergo Sum" has more ethereal yet brutal rhythm haunting like a ghost. "Teeth" takes the industrial vibes of 3TEETH and gives it the Gojira prog-death treatment. Then things quiet down in the interlude "A Womb Tone".

"Obliterate’s Prayer" has gigantic hooks to obliterate anything in the song's path. "Sewer", at some moments, makes me think of Winds of Plague if the symphonic elements where replaced with industrial ones. "The Argument" has more Godflesh influences, particularly in the chorus. "Cell" is a slower track with spooky-a** ambience. But of course, there are still some riff bombs set to f***ing blow you apart.

There's more sorrow in the still chaotic "Disintegrate". Then "A Palimpsest" is one more ominous interlude. "Tabula Rasa" can slice through you like a razorblade in brutal hellfire. A twisted addictive way to head out! And once the chaos stops, you might just feel up to replaying these killer 45 minutes.

Barely anyone can listen to Flesh is Heir everyday, but it can be easy for me to do so. It's pure twisted rage from the deathly depths of Hell that lets you think of the bleak state of humanity. The album flows so well and even the highlights can fit well with one another. It's so heavy that you can feel it like a nuclear asteroid explosion and still live. One of the most brutal offerings in extreme industrial metal!

Favorites: "Flesh is Heir", "Teeth", "Obliterate’s Prayer", "The Argument", "Disintegrate", "Tabula Rasa"

After listening to the perfect Bat Salad EP by High on Fire, followed by a revisiting of one of Grand Magus' albums, I felt up to exploring some more of this intriguing blend of stoner metal with more upbeat classic metal genres. The mind-blowing glory of this mix of sounds strikes again with Snakes for the Divine, a stoner/sludge/thrash metal album featuring a dark twist in the Adam and Eve myth!

This was long before High on Fire won a Grammy Award for the title track of their 2018 album Electric Messiah. They've already had a breakthrough before then by getting signed into E1 for this album after the previous 3 were released by Relapse Records. Now how can Snakes for the Divine be such a divine album for me? Answers to come...

The 8-minute opening title epic greatly displays the talent of these speedy stoner metal titans, including the Lemmy-esque voice of Matt Pike (also the guitarist for Sleep). The stoner/sludge/thrash sound is greatly exemplified in this perfect highlight. Lots of fantastic soloing here! "Frost Hammer" is another devastating thrash highlight. It also has an atmospheric not too far from the earlier sludge material of Mastodon, y'know, the band whom the members first met each other in one of High on Fire's first ever shows. "B****rd Samurai" slows things down with some psychedelic bass by Jeff Matz that would almost have Black Sabbath's "Planet Caravan" pop up in your mind, if not for the heavy stoner metal instrumentation that rules the track.

"Ghost Neck" is yet another song that dominates with a more thrashy sound. An interlude, "The Path" is thrown into the middle of the album. It doesn't really stand out in the album, but being an short instrumental, it doesn't affect the perfect score. It segues to the track "Fire, Flood & Plague", where the verses show Matt Pike expanding his vocal range higher as they gradually get more brutal. The drumming gets harder and more technical in this furious piece of prog-ish thrash. The relentlessness refuses to lower down, and it has stirred up another highlight.

"How Dark We Pray" is another different track, with stoner riffing/soloing as part of the diverse guitarwork. "Holy Flames of the Fire Spitter" spits out some more fast sludge fire in yet another memorable song. The Best Buy edition has 3 bonus tracks, starting with "Mystery of Helm", an awesome fast song standing out with its riffing. The other two bonus tracks are live renditions of "Eyes and Teeth" and "Cometh Down Hessian" from their earlier albums. Pretty great, but not quite fitting the rest of the album.

If you're looking for true heaviness of metal in the crushing riffs in bass, this is it. The genre created by Black Sabbath has reached another milestone in High on Fire's Snakes for the Divine! It's an album of fantastic diversity you just gotta look out for. A perfect metal adventure through the dark side of Eden!

Favorites: "Snakes for the Divine", "Frost Hammer", "Fire, Flood & Plague", "Holy Flames of the Fire Spitter", "Mystery of Helm"

Argyle Park was an industrial rock/metal project Klayton was in between his own two projects Circle of Dust and the more famous Celldweller. The other founder of this project goes by the name Buka. Despite being signed to Christian labels, their dark lyrics and contributions from secular artists caused some controversy in the Christian music scene. Their record label R.E.X. tried to censor a track in the band's album Misguided. Because of all this, the band split up after two years of activity.

Fast forward a few years, the band reformed under a different name AP2, and released a second album titled Suspension of Disbelief. While the poor sales and criticism caused the band to end again, this is one of the most innovative industrial rock/metal albums I've heard. The darkness is what I love!

The album starts with 4 strokes of a piano note to begin "The End", a song meant to signify the end of their earlier Argyle Park era. Then you hear a scream of "I AM THE DAMAGED!!!!" with "DAMAGED" echoed a few times. It then moves into soft slow electronica with samples of two songs from Misguided, "Leave Me Alone" (actually the only metal song in that album from what I hear) and "A Burden's Folly". Then "Heroin Hate" begins the industrial metal momentum. "My Sympathies" is an awesome highlight. Adding some nice touches in the vocal department is Mark Salomon of Stavesacre and The Crucified who sounds almost like Nine Inch Nails' Trent Reznor. There are a little more techno/trance/drum n bass influences here, but I still enjoy it! Nothing's terrible about "A Thousand Terrible Things", a pleasant NIN-esque interlude.

"Silhouette of Rage" has some more industrial rage with vocals by Daren "Klank" Diolosa. I enjoy "A New Wound" having a similar sound to Fear Factory in both the heavier songs, softer ballads, and Remanufacture remixes. "The Red Shirt Conspiracy" actually sounds like an industrial take on the earlier thrash of Voivod and Sabbat with guest vocals by Joel Timothy Bell. My favorite song here is "The Pact". It's a softer industrial rock/metal track with no lyrics, only Indian-style chanting by vocalist Sage. That and the catchy pop-ish tone might remind some of The Prayer Chain, and the song shows actions can sing louder than words.

"Resurrection of the Ravens" is another totally underrated work of art! This is pretty much what Klayton's other projects Circle of Dust and Celldweller sound like, and it goes down as another long-lasting favorite. The techno-dance-rave-like industrial rock/metal sound is killer! Klayton is the writer and singer of that beautiful piece. "Goodbye" is unrelated to a similarly-titled song Klayton recorded as a Circle of Dust demo and later re-recorded as a Celldweller track. The AP2 song is still pretty great though. "The Only Man I Know" actually takes a break from the Psyclon Nine-like industrial sound for more of an alt-rock/metal sound that would actually foreshadow 36 Crazyfists' style at that time, and maybe even Bring Me the Horizon's sound in the late 2010s. "Cold Breath of Sorrow" is an ambient outro of dark pain to end it all. The whispers sound almost like just repeatedly saying "It's all over...", which sadly is after a few more piano strokes like in the album's intro.

Not one other project could attempt to make dark experimental industrial rock/metal in the Christian music scene. It's a risk that caused them to be shunned by the scene, but at least industrial metal fans like myself would have something to listen to a lot every now and then!

Favorites: "My Sympathies", "A New Wound", "The Red Shirt Conspiracy", "The Pact", "Resurrection of the Ravens", "The Only Man I Know"

I wish I had dived into Mercenary's discography a little earlier. They've made a lot of stupendous classics before a 10-year gap. Did the band make a massive comeback in their new album Soundtrack for the End Times (nice title, though far too relatable)?...

Well, the band still have their signature epic melodeath sound with background keyboards. However, they seem to be moving farther away from their 2000s power metal influences, in favor of more modern pieces of groove/metalcore. You might expect that from the fact that the band no longer have half of their classic lineup. The vocals by Rene Pederson make the band sound a little more Linkin Park than power metal. Although everything's a little more simplistic, they do it all with the strength they still have.

"Burning in Reverse" starts the album OK. It shows that melodeath can be bright and modern instead of as dark and doomy as Hinayana. I would definitely want more of the next track "Heart of the Numb" and its guest appearance by Matt Heafy of Trivium. Then comes a true highlight, "Where Darkened Souls Belong". Wow, this another song I can consider the best of Mercenary even after just a week of diving into the band's material. Nothing different, but this 7-minute track is well-structured. From the keyboard intro onwards, you get everything including mighty grooves, the best harmonic soloing here, and a perfect catchy double-chorus. I'll definitely continue playing this as many times as I want, it really strikes like lightning! "Through This Blackened Hatred" sounds as heavy as The Haunted while having a subpar catchy chorus.

"Anthem for the Anxious" is an anthemic standout that is certainly worth your time. "A Darker Path" has a dark blend of heaviness and melody, though it sounds closer to the melodic metalcore of Miss May I, Bury Tomorrow, and Parkway Drive. "Become the Flame" is a more Trivium-like standout, so much so that Matt Heafy should've made a guest appearance here as well, maybe also Devin Townsend. "From the Ashes of the Fallen" sounds like something Atreyu could've done, though it doesn't have any problems despite sounding less impressive in every listen.

"Black Heart, Dead Tissue" is one more beautiful highlight, practically blending together the melody of Unearth, the darkness of Insomnium, and a bit of heavy technicality from Within the Ruins. Then we switch to the thrashy melodeath of At the Gates in "Black Blood Soil", which sounds cool but doesn't add a lot. There's some epic-sounding orchestra in "Beyond the Waves" but it just doesn't match the quality of that other 7-minute epic.

So their new album Soundtrack for the End Times really kicks up the band's modern influences. If you don't mind a bit of the aforementioned bands like Linkin Park, The Haunted, Trivium, and At the Gates, you have good moments to enjoy there. But if you prefer to stick strictly with Mercenary's 2000s classics, you might wanna stay away....

Favorites: "Heart of the Numb", "Where Darkened Souls Belong", "Anthem for the Anxious", "Become the Flame", "Black Heart, Dead Tissue"

Mercenary's 7th album Through Our Darkest Days is another continuation of the band's grand melodeath sound with power metal elements. Apart from the more modern influences the band has been adding since Metamorphosis that seems to reduce a bit of the quality, not much changed. The melodeath riffing has a power metal tone without any of the brutality of their debut First Breath. The heaviness comes from the fast thrash that make the best contrast with the epic melody. More of the addictive melody comes from the superb keyboards of atmospheric majesty that can almost turn their power metal influences into symphonic power metal. And it's fun hearing the melody appearing in both the guitars and keyboards because of how well melodeath bands from other Northern European countries use that aspect. However, unlike those bands that focus mainly on death growls, the band adds in clean singing in perfect balance with the growls, at the cost of bit of the aggression.

Through Our Darkest Days is not their best album but not a bad one either. Their style has a lot of potential, but how they've been using it lately might cause minor damage to what makes them spectacular. Although most of the songs are strong and energetic, the idea of modernizing their power metal-ish melodeath can stir up some conflict in their attempt on staying cohesive. With great strength comes great responsibility, and some differences can be pop up noticeably as the album goes on. The grand epic atmosphere can actually be found in later songs and flows easier than the first few. No matter which songs have better flow, this album shall mark another adventurous addition to their long tremendous career...

Opening track "A New Dawn" charges through with catchy yet heavy groove/thrash riffing and beautiful atmosphere. However, the clean vocals in the verses sound a bit robotic and out of place. Don't worry though, the cleans will sound better later. "Welcome the Sickness" welcomes you to the heavier death growls and blast beats, mixed perfectly with clean singing and riffs of epic atmosphere, ending with wonderful soloing. The title track has more melodic riffing to take you on a melodeath/power metal adventure. With that effective cleans/growls blend, we have another strong highlight.

"Dreamstate Machine" lightens things up with some more of the clean riffing atmosphere. The more brutal riffing and growling is only used for the verses. Similarly, "A Moment of Clarity" is kind of a clean groove track that relaxes on most of the heavy energy while having atmospheric soloing. The album's consistent side kicks in with "Beyond This Night", though the mid-paced melody and atmospheric riffing isn't that great and can't keep up with the strength of later tracks.

The highlight "Starving Eyes" soars through with clean singing and keyboards, as the melodic riffing gives the song the epic power it needs. One of my favorite songs here! "Generation Hate" charges through with a devastating deathly intro complete with bass and drums pummeling through. Despite being cut short for the power metal-ish chorus, that chorus soars along for a solid blend of cleans, riffs, and keyboards. "Forever the Unknown" closes the album as a long epic with the best keyboard atmosphere and riffing as an adventurous end to this great experience. The bonus track "Holding On to Serenity" is OK, though sounding close to early Shadows Fall.

7 albums in and the band is still standing strong. This album may not be their best one, but there are still some memorable songs to enjoy that help them continue this style that not many bands still have today. The power metal elements from the keyboards and cleans help the sound stand out in strong glory with their melodeath side that has all the vicious riffs and growls. Though the more modernized sound cause a bit of an issue, with the lighter moments not shining well. The more deathly metalheads might has some trouble getting the appeal when it comes to the sound going from one place to the other. Nonetheless, if you're up for adventure packed with more melody than brutality, you've come to the right place. Even the darkest days have some light....

Favorites: "Welcome the Sickness", "Through Our Darkest Days", "Dreamstate Machine", "Starving Eyes", "Forever the Unknown"

I am the kind of metalhead who enjoys albums from bands that experiment with changing their sound in each release, except when one of those albums is non-metal. Take for example two gothic metal bands I used to listen to, Paradise Lost and Tiamat. They both started off as death-doom flirting with both sides of the genre in early 90s, switched to gothic metal in the mid-90s, discarded their metal in late 90s, and started bringing it back throughout the 2000s and early 2010s.

Throughout those years leading up to that point, Mercenary made a thrashy melodeath album in 1998 and a string of 4 epic power metal-ish melodeath offerings. The early 2010s is when the band began to take their modern influences to the next level in Metamorphosis. It's pretty great, though it can never beat their earlier discography...

Kicking things off is "Through the Eyes of the Devil", with an intro where the metal instrumentation is really building up. René Pedersen typically performs a more hardcore style of harsh vocals, but he can still do the shrieking and growling expected in melodeath. The chorus is when he starts to sing. Former clean vocalist Mikkel Sandager was a total master of melodic singing when he was with the band, and fans were concerned about if Rene's harsh vocal style would be all that's left in the vocal department. Fortunately, he can sing, almost as greatly as Mikkel. And that's what I enjoy about that track. "The Follower" is good but not really the best. There are nice moments but nothing so interesting. "In a River of Madness" throws back to the band's 2000s awesomeness with haunting symphonics.

"Memoria" is worth lots of listens. Rene once again proves his amazing talent to perform clean and harsh vocals, as bands like Scar Symmetry would. It's quite impressive, considering he can also play the bass at the same time. A melodic standout with nice pace! Mixing heaviness with emotion is "Velvet Lies" with nice melancholy. "In Bloodred Shades" has more of the clean/harsh vocal mix worth listening to. "Shades of Gray" sounds too poppy, especially since it has solely clean singing, common in melodeath albums but considered a sin by fans of the genre. With no aggression, it's just a lame song that would be better suited as a standalone radio single instead of on this album.

"On The Edge of Sanity" can strikes back as one of my favorite songs here. Rene's vocal ability is in mighty display. And even though the chorus is a bit a repetitive, that awesome catchy song can't be put down. "The Black Brigade" has lyrics about how love can prevent suicide. For a love song, I really like that one. The US edition comes with a bonus track, "Incorporate Your Demons", my overall favorite here that should've been in the standard edition. Wonderful All That Remains vibes in that chorus!

Far from their epic 2000s throne but still pretty great, Metamorphosis has a lot of expected and unexpected turns. The lineup can stand strong despite being much different. While some might hate this more commercial sound, I don't mind it. As the open-minded metalhead I am, I take no sh*t....

Favorites: "Through the Eyes of the Devil", "In a River of Madness", "Memoria", "On The Edge of Sanity", "Incorporate Your Demons"

I'd like to once again say that I wasn't fully interested in Mercenary until just a week before this review, despite having heard of this band for many years. I'm not sure why. But no matter the reason, I'm grateful to find some metal classics from this band, such as the fantastic The Hours That Remain. Will they continue to impress in their next album?

Their 5th album Architect of Lies is a sign of a different era. René "Renegade" Pedersen became the new bassist/death growler, and modern influences have started making their way to the usual power metal-infused melodeath sound. And this is the kind of style that should interest my brother who likes the more modern rock/metal bands. Many metalheads take a couple months to completely the greatness of an album into their minds, but me? It only took a quick but thorough week!

"New Desire" begins the album with the band's signature blending of heavy riffing and atmospheric keyboards. The verses are when you hear them use more alt-sounding riffing for the first time, which might turn off metal purists but lure in anyone who can handle modern variety (such as myself). "Bloodsong" has one of the best bridge sections in the album, in which the impressive soloing by lead guitarist Martin Buus will blow your mind and stay in there. At first listen of "Embrace the Nothing", all I can hear is some of the most fascinating work Mercenary has done. It almost sounds like an unused track from The Hours That Remain sessions, with melody of awesome wonders. A superb track that marks my favorite here. "This Black and Endless Never" is where Mikkel sings his best in the destructive heaviness without wasting any time.

I certainly approve of the godly soloing in "Isolation (The Loneliness in December)". That, along with the rest of the track, greatly pleases me. The guitars and keyboards have splendid harmony in "The Endless Fall". In the limited edition, that track segues into the bonus track "Death Connection". If you have that edition, consider yourself lucky. It's a must-have if you want more of the sound the album has to offer. And it actually works well in the middle of the album instead of the end where bonus tracks typically go. The next track "Black Hollow" is another highlight with more of the atmospheric keyboard melody.

Another song, "Execution Style" has killer heaviness while still mastering the pop-ish hooks appearing every now and then. "I Am Lies" has more of the modern riffing that has already caught in other melodeath bands like Scar Symmetry. "Public Failure Number One" has more thrashy variety. Then it ends the album with the last of the keyboards by Morten Sandager before he, his brother clean vocalist Mikkel, and drummer Mike Park all left the band the following year.

With Architect of Lies being the last album for those 3 albums and the first with René Pedersen, it is a transitional album between their earlier epic era and their recent modern era. And that's an awesome blend for anyone wanting both something old and new. Another amazing album any diverse metalhead should get!

Favorites: "Bloodsong", "Embrace the Nothing", "Isolation (The Loneliness in December)", "Death Connection", "Black Hollow", "I Am Lies"

4th album in, and Mercenary is still going strong. Their albums are quite remarkable in the metal community. Pretty much everything is in high quality. And their sound never ceases to progress! Their unique sound has stirred up another perfect masterpiece. Mercenary continues to be the respectable ensemble they are with this gem that is The Hours That Remain. The music also shines with its production that allows easy clarity for the instruments. Everything's perfectly produced and your mind can focus on the music without any troubling thing.

Once again, the band are incredible masters of melodeath with progressive/power metal tendencies. The vocals are quite unique here. Kral left the band right before the album was to be recorded, and while producer Jacob Hansen took over on bass, clean vocalist Mikkel Sandager decided to test out his growling/screaming abilities. His harsh vocals are so perfectly kick-A that I wish he could do them full-time, though I also enjoy his beautiful singing voice and I don't want that to get strained.

Harsh vocals help define the band's sound in "Redefine Me", though just so Mikkel can still have his clean falsetto, the harsh vocal role is given to Björn "Speed" Strid of Soilwork just for that song. "Year of the Plague" is where Mikkel starts doing the harsh vocals on his own. "My World is Ending" is one of my favorite songs from this band and album, which is interesting because it's more focused on clean singing and adding a fair amount of keyboard melody. Another one of the best songs here is "This Eternal Instant", an instant classic in the heavier side of melodeath.

Next song, the 8-minute "Lost Reality" has nice keyboard atmosphere. Same with "Soul Decision", another great heavy highlight with some more harsh vocals. And again in "Simplicity Demand", though a little more simplistic.

"Obscure Indiscretion" is another song with much less harsh vocals. "My Secret Window" is another total standout, with relentless greatness striking the listener in every direction. The closing title track has some zesty synths and piano within the heavier instrumentation. The track is 7-minutes long, but it is followed by a hidden one-minute outro with the last bit of piano and singing.

The success is still going! The stellar sound has slightly improved from 11 Dreams and is able to maintain the perfect glory of Everblack. They continue to level up their greatness that would decrease in later releases while staying strong. Any metalhead should get The Hours That Remain. A fantastic confident offering of epic melodeath!

Favorites: "Redefine Me", "My World is Ending", "This Eternal Instant", "Soul Decision", "My Secret Window"

After a well-done thrashy debut First Breath, their second album Everblack is a masterpiece in which power metal elements are seamlessly added to their dominant sound of melodeath. Epic and extreme can truly fit well together! They would continue the sound in their subsequent albums though with more modern influences later on. And one of those albums show that the band never cease to amaze their fans...

11 Dreams, like the rest of the band's discography, has been with me for about a week, and I'm already hooked for some more listening to come. A lot of this album is f***ing kick-A! Barely any song here is in bad shape, all in top-notch quality.

The intro "Into the Sea of Dark Desires" has haunting keyboards sounding straight out of a fantasy/horror movie. Then "World Hate Center" unleashes heavy anger that will live in your mind in a week, which I've experienced after hearing it for the first time. Great riffing worth moshing and headbanging to, along with total vocal rage, "Now do you feel respectable on the cross?!" The title track is another great track, though different from the first song. The greatness reaches its highest point right in the middle with a searing solo. "reDestructDead" blends together the brutal melodeath of the first full song with the pieces of symphonic power metal from the second. Another solo appears in the middle in a faster tempo, one of the many things making that song another highlight.

The next track "Firesoul" is quite a ride. Serene female singing appears during the last couple minutes, performed by Monika Pedersen who would later join Sirenia for one their albums. Lots of great piano melody too. Then we have a good memorable standout in "Sharpen the Edges". Lots of creepy drama from the piano and lyrics that wouldn't sound too far off from Misfits. The slow riffing stays heavy and twisted all the way through. Another memorable track "Supremacy v2.0", is filled with kick-A melodeath and a sequel to a song from their 1996 EP. Some more of the slow riffing has great synergy between the two vocalists. A well-constructed epic worth repeated listens!

After that, we have "Music No Stop", a cover of the song by Swedish pop rock band Kent. Metal purists might think "What the f***?!?" when hearing this cover, but the truth is, they turned a pop sh*t-hit into a real metal song. And that's how I like these kinds of covers! "Falling" swings into fast groove/thrash while having more of Mikkel's vocals and another guest appearance by Monika Pedersen in the background. "Times Without Changes" is a 3-minute piano ballad, and the only song in this album to feel even slightly out of place. It segues to the mind-blowing finale "Loneliness". Right from first listen, it's my favorite track of the album. The guitarwork is unbelievable. The drums have a steady pace. And the vocals sound so perfect! I can actually sing and growl quite well, but while I can imitate Kral, I can't quite reach the range of Mikkel. I might still have a fun time covering this song with some of the best lyrics in metal. I highly suggest listening to that glorious song of PURE METAL POWER!!!

I think it's clear that the band is spicing up melodeath with some bits of Stratovarius-like power metal coming from clean vocals and keyboards performed from the heart. Whether or not you're a fan of melodeath, you're bound to enjoy the h*ll out of this album. 11 Dreams is every metalhead's dream!

Favorites: "World Hate Center", "reDestructDead", "Sharpen the Edges", "Supremacy v2.0", "Loneliness"

Not many bands can reach enjoyable perfection at just the second album, but Mercenary has done just that! Everblack knocked their debut First Breath off the throne, having switched from a thrashy melodeath band to melodeath with power metal influences. Giving the band that melodic boost is brothers Mikkel and Morten Sandager. Mikkel has some of the most skillful clean singing I've heard, and Morten is talented with his dark keyboard work.

As for the rest of the lineup, Kral can handle the bass well and perform death growls clear enough for you to hear the lyrics. Guitarist Jakob Mølbjerg has riff-tastic skills. One-time guitarist guitarist Signar Petersen shreds all the way with his soloing. And drummer Rasmus Jacobsen... Well, although he has the potential to crash and blast like any other aggressive drummer, he rarely does that. His more rock-ish technique is quite great but unfitting, subtracting a percentage point away from total perfection. Maybe it has something to do with his lack of commitment with the band that got him fired after this album and replaced by the more passion-powered Mike Park Nielsen.

The album starts with a short spooky intro to get anyone pumped, though it seems to consider the September 11 attacks the start of "World War III". Then it launches into the thrashy title track where you can hear the Sandager brothers' power metal-ish contributions for the first time. "Seize the Night" has a bit of hardcore groove which, combined with the usual melodeath, sounds like Shadows Fall at that time. The epic "Screaming from the Heavens" has the best of the album's sound.

"Dead.com" rocks out with some of the best melodeath that you can also find from bands like Kalmah, Dethklok, and Sylosis. Some of the greatest soloing can be found in "Darkspeed". Though it's not as dark as "Bloodrush". And even darker still is "A Darker Shade of Black".

Kral's growls and Mikkel's cleans shine the most together in "Bulletblues", especially in fantastic vocal duels. I also love its ending guitar solo. "Rescue Me" has melodic riffing that might've planted a seed for modern metalcore bands like August Burns Red and Demon Hunter. "Alliance" is one more thrash song before ending with a spooky outro. "Nothing's What It Seems" is a bonus epic that's quite awesome except when it abruptly cuts off at the end. That's fixed in the remastered version by fading out.

All in all, Everblack is an epic recommendation for open-minded metalheads like myself. It's actually not until their next album 11 Dreams, when the band is signed to Century Media, that they become more popular. Still, Everblack is the true start to the Mercenary we know, and any metal fan should get it for pure metal glory!

Favorites: "Everblack", "Screaming from the Heavens", "Dead.com", "Darkspeed", "Bulletblues", "Nothing's What It Seems" (remastered)

Formed in 1991 and having released 3 demos throughout the decade, melodeath fans get to witness the FIRST BREATH of Mercenary with their debut album. Unlike their later power metal-influenced albums, First Breath takes on a more thrashy melodeath sound. The band didn't have a full-time keyboardist and clean vocalist yet, and Henrik "Kral" Andersen (bass, growls) led this deathly quartet. The raw sound adds to this album's superb uniqueness!

What you can expect in this album includes brutal death growls, melodic thrashy guitar, and decent drum blasts. Kral sounds like a monstrous menace, and that's a compliment for death growlers. The music sounds darker and more violent than any of their subsequent releases.

"Symbiotic" kicks off the album with a more melodic take on old-school Death. "World Wide Weep" has more of a hardcore groove, but one you can really headbang to. Next song "Horizon" is a wonderful 8-minute epic. You can hear beautiful vocals by Irene Poulsen and mystical keyboards by Jakob Sivsgård, almost foreshadowing what the band would add from their next album onward. "Master Game" has impressive bass and soloing.

"Perceptive" has a similar vibe to late 80s Pestilence but more melodic. "Graveart" has some beautiful melodeath that Omnium Gatherum would later have, then ends with battle sounds similar to Braveheart. "Next to Nothing" has more of that impressive soloing. "Demon8" sounds more haunting in some places, and has some more keyboards.

"Watching Me" almost reminds me a bit of Dethklok. "Alternative Ways" has some slight alt-metal before becoming thrashy. "Sister Jane" is a lovely soft ballad to end the album, and it has more of the clean vocals Irene Poulsen, as well as Kral attempting to do his own singing in the duet. After 45 seconds of silence, we have the bonus track "Supremacy" from the band's 1996 EP. Although this is melodeath, the harmonics sound like they could've been used by Machine Head or Nevermore. That said, I like it.

All in all, First Breath is a brutal powerful start to Mercenary's journey. There's no way an exceptional album like this can be recreated by the band after the lineup and sound changed a lot, with only rhythm guitarist Jakob Mølbjerg still around. Any melodeath fan should start with this album before the rest. A near-perfect raw classic!

Favorites: "Horizon", "Master Game", "Graveart", "Next to Nothing", "Sister Jane", "Supremacy"

Mutoid Man is perhaps one of the most diverse metal bands I've encountered. I'm not kidding when I say that you can over a dozen different genres in one offering. And everything is executed perfectly, so that's a rare bonus for a band of different styles. They can change colors like a chameleon while roaring like a lion. A chamelion! I wouldn't have discovered this fantastic band if not for one of my outside-world metalhead friends.

Indeed this blend of metal and classic rock will blow you away by sounding both catchy and heavy. War Moans continues the many terrific treats Mutoid Man has, with a bit of pop added to the mix just subtly.

Opening the album is "Melt Your Mind", with riffs and rhythms racing through alongside catchy vocals. This is pure classic heavy/speed metal not too far from Motorhead. "Bone Chain" continues that style, crashing along with more of the rough riffs and rhythms. "Micro Aggression" has rapid pulverizing drumming to give the speed metal sound some aggressive hardcore/thrash treatment. "Kiss of Death" is the first song in the album to have the slower bluesy stoner side of the sound. The guitars are heated up with the signature stoner fuzz. The drums can still sound intense without the speed, thus adding more balance to the overall sound of the album. Not many stoner metal songs stand out as a highlight for me, but that one does.

Following up is "Date With the Devil" that adds in some sleazy hard rock to their stoner metal then ends with a progressive breakdown. Back into the hardcore/speed metal side is the aptly titled neck-breaking whiplash of "Headrush" that gradually becomes more progressive, kinda like what Cave In used in Jupiter but more metallic. "Irons in the Fire" can be considered a wicked combination of the heavy metal of Iron Maiden and the speed/stoner metal of High on Fire. Then we reach the climatic title track that has more of the speed/thrash metal of Megadeth, even having former Megadeth guitarist Marty Friedman pull off wild shredding. Incredible!

"Wreck and Survive" takes on more progressive moods while crawling through bluesy stoner metal. You can hear the immense beauty of Chelsea Wolfe's guest vocals. "Afterlife" starts off with some stoner melody then launches into solid chaotic thrash/speed metal in the verses. "Open Flame" continues that sound with intense progressive punches. Finale "Bandages" may surprise some as a stoner/gothic doom ballad with emotional depth and background vocals by Chelsea Wolfe. So beautiful and somber!

War Moans is filled with the wild diverse fun you can expect from Mutoid Man. Everything heavy and catchy is in a perfect blend. They know how to reach higher heights with their sound of sounds. And there's plenty more where this came from!

Favorites: "Melt Your Mind", "Kiss of Death", "Irons in the Fire", "War Moans", "Wreck and Survive", "Bandages"

Mutoid Man made their unexpected entrance to the metal realm as a side-project of Cave In frontman Stephen Brodsky and Converge drummer Ben Koller. Since their 2013 EP Helium Head, they've written songs with stellar energy, colossal riffs, and lots of different styles assimilated into one. I'd like to once again thank one of my metalhead friends in the outside world for sharing a song from one of their later albums that got me interested in this band. Lots of songs are sweetened with catchy melodies and spiced up with heavy riffs, and HOLY SH*T, their diversity goes far beyond bounds!

This expanding spirit of the band is exhibited in their debut full album Bleeder for an adventurous experience, created by Brodsky, Koller, and then-bassist Nick Cageao. Even though Cageao is typically known as "that guy at Brooklyn’s St. Vitus Bar", anyone in the metalcore community knows Brodsky and Koller's proudest achievements with their respective main bands. Bleeder shows the band's hammering blend of different genres from rock, metal, and hardcore all in one place.

First track and single "Bridgeburner" starts the album with some groovy heavy/stoner metal before ending with a progressive breakdown. Another single "Reptilian Soul" launches their hardcore/hard rock/prog-metal influences forward. "Sweet Ivy" has the perfect idea of adding doses of psychedelia to the pummeling stoner progressiveness.

Covering Cave In's different eras is "1000 Mile Stare" from their ongoing progressive sound to a bit of their earlier metalcore. "Surveillance" has the progressiveness of Meshuggah without ever resorting to djenty instrumentation. As with the previous track, Brodsky's vocals range from clean to growling to even a high scream, all in a metalcore vibe. Another under two-minute track, "Beast" perfectly unites progressive metal with hardcore/speed metal as the leads and rhythms strike each other for dominance. The sharp "Dead Dreams" once again pushes forward their stoner sound while shoving in some punishing sludge metal in the breakdown.

"Soft Spot in My Skull" once again offers a combination of Megadeth-like speed metal and the progressiveness of Cave In while adding some funky jazz fusion. "Deadlock" battles it all out in stoner/progressive/thrash metal. A tight bridge lets the riffs punch through and Brodsky screams his way into complex sections. The title epic is the band's longest song at nearly 6 minutes. Brodsky's vocals and guitars, Cageao's bass, and Koller's drums unite for some bluesy stoner metal gone progressive.

It seems like Mutoid Man has proven us that the band members can perform more than just the metallic hardcore days of yore, with something heavily diverse and mature. They can control the chaos as their sound travels practically everywhere from Hendrix to Botch ("All Along the Botch Tower", lol). Nothing more unique than that!

Favorites: "Sweet Ivy", "1000 Mile Stare", "Beast", "Soft Spot in My Skull", "Bleeder"

With a highly diverse style, Amaranthe's exact genre is subject to debate. It's unknown how this band ended up associated with symphonic metal, but it may have something to do with this other band of founding guitarist Olof Morck, symphonic power metallers Dragonland. While I can't deny their blend of trance/symphonic/melodic metalcore, the best way to describe them is modern pop metal. Within Temptation has also seemed to switch that style recently after over two decades of their own symphonic metal sound. Amaranthe have a lot to pull off in their next adventure. The Catalyst is the first album in 4 years since 2020's Manifest. The reason for a long wait can either be due to the sh*tty pandemic or the fact that harsh vocalist Henrik Englund left the band. But the wait is worth it! The fans can consider this is a nice two-months-late Christmas gift...

The Catalyst might just be the band's first album where they stay true to the symphonic metal association they seem to have. Bombastic symphonic synths have been added to their catchy futuristic style. That's actually good because there's more diversity than just swinging through their own attempts at cheesy electronic anthems, and it brings back the heavy glory to their earlier trio of albums from the first half of the 2010s. The crushing growls of their new harsh vocalist Mikael Sehlin fit greatly with the divine clean duo of Elize Ryd and Nils Molin, and Morck's writing. Almost every song has memorable impact, all making The Catalyst and offering of diverse joy.

The title opener already hints at the symphonics in the first 45 seconds, then escalates into the usual blend of brutal heaviness and pop melody. Electronics soar through alongside the powerful vocal trio. It's the album's longest song at only 3 minutes and 40 seconds, and they used the short length wisely with energetic hooks. "Insatiable" continues the pop metal power as a potential hit to sweep the globe. "Damnation Flame" stuns listeners with its anthemic chorus and more prominent symphonics, shining the most in the spooky carnival mid-section. "Liberated" is a more straight track that seems to throw back to the somewhat mundane formula of the late 2010s. But don't worry, the rest of the album would make up for that minor downfall.

The driving "Re-Vision" breaks through hard with vocoder and the harmony of the vocal trio. A perfect standout! Next up, "Interference" storms along with the usual electro-trance metal. "Stay a Little While" is the ballad of the album, with heartful symphonics and a lovely duet between Ryd and Molin. A nice break from the more modern electro-infused heaviness. Groove-powered "Ecstasy" has more of the driving energy. The one thing I would consider odd there is Mikael's Rob Zombie-like growl-rapping. Clearly he inherited some of that GG6 experimentation from Henrik Englund.

"Breaking the Waves" is a true symphonic trance metal anthem, in which the instrumentation is layered with tons of electronics and classical symphonics, as the synergy of clean and harsh vocals sail smoothly. So heavy and theatrical! "Outer Dimensions" is another blazing futuristic anthem. "Resistance" has techno-mosh fire and fury. It's quite triumphant for a song that's just slightly under 3 minutes in length, and it shall please even metal purists. "Find Life" is as an earlier single from before the band hired Mikael.

The best of Amaranthe since Massive Addictive has been greatly displayed in The Catalyst. This can certainly get you pumped when you're feel down. An essential album for anyone up for what sounds like pop hits gone metal, and that's no insult!

Favorites: "The Catalyst", "Damnation Flame", "Re-Vision", "Breaking the Waves", "Outer Dimensions", "Resistance"

Last year (as of this review), sometime after I made another attempt of cutting contact with power metal, I met a new outside-world friend of mine who is in a band and enjoys heavy/power metal. Thanks to him, I discovered some new power metal bands I haven't heard before like Beast in Black (though it was my brother recommending one of their songs to me that peaked my interest), Tungsten, and of course, Grailknights!

This band I would've loved to bits if I was in my stronger power metal phase 10 years ago, and this album would've been no exception. It's a pretty great album for those who wish to explore superhero-ish medieval fantasy in metal.

"Into the Abyss of the Grail" is a battle-ready intro with synthesized brass/orchestra not too far off from the RuneScape soundtrack. Then the first actual song "Pumping Iron Power" is filled with anthemic power metal. No matter how the cheesy the blend of 80s synths and metal instrumentation sounds, you'll be all pumped up and headbanging in no time. Guest vocalist Joakim Brodén of Sabaton provides his signature baritone vocals for perfect contrast with Sir Optimus Prime's tenor voice. "Cthulhu" sounds closer to classic heavy metal while continuing the one-two punch leveled up by heavy riffing and a catchy chorus worth singing along to. "Black Spider’s Web" emphasizes the guitars more than the keys. The heavy instrumentation all leads up to the breakdown where the knight battles that giant spider.

"Grailskull Asylum" continues that spooky horror vibe with its synth intro. The more extreme instrumentation and harsh black metal-ish vocals will certainly get fans of the band's earlier melodeath sound excited, while having the Helloween vibe in the lyrics and the more melodic parts. "March of the Skeletons" fits well for a fantasy-themed Halloween dance party. Clean and harsh vocals continue to blend well together, while the marching breakdown has great potential in a live show. "Shadow of the Mountain" is another heavy/power metal highlight, even sneaking in a powerful melodic scream! "Laser Raptor 3D" has catchy 80s laser synth fitting greatly with the metal heaviness.

"Ghost Town" travels further down the past to the 60s with Western-style guitar and drums galloping like a horse. Nice guitar soloing there! Next up, "Book of a Hero" is the closest thing we have to a ballad. Though it's more of an OK attempt at clean cinematic folk as the hero rides off into a perilous journey. The title finale rises from soft whispers into an epic headbanging assault of guitars and synths, with lyrics to sing along to all the way up to the final march.

I can't say I would ever love Grailknights as much as I would have 10 years ago, but this is a prime example of the fun side of power metal done right. I will have to thank my outside-world friend for his help in reviving part of my power metal interest, and he and I can have a good power metal time....

Favorites: "Pumping Iron Power", "Cthulhu", "Grailskull Asylum", "Shadow of the Mountain", "Knightfall"

OK, an EP may not be the best way to discover a band, but it's what I've chosen after stirring up some curiosity from the stoner/speed metal sound of Mutoid Man's new album Mutants and that band's new bassist being part of this one. And it really paid off! I never knew until now how perfectly mesmerizing it is to blend stoner/sludge metal with speed/thrash metal, despite me going the Straight Edge-like path of staying away from drugs (you know what the deal is about stoner rock/metal).

High on Fire has been active for over 25 years and inspired many metal bands including Mastodon who first formed in one of High on Fire's earliest shows. This Oakland band won a Grammy award for the title track of their 2018 album Electric Messiah, so what's next? A 3-track EP consisting of an instrumental and two covers, that's what!

Bat Salad starts with its title instrumental which, as if the title's reference to that Black Sabbath instrumental isn't enough, pays great tribute to that band with blend of sludgy heavy/stoner metal. Absolutely nothing wrong there! The band's cover of "Into the Crypts of Rays" by Celtic Frost (whose album cover for To Mega Therion is parodied for the EP) does proper justice to that band's earlier sound and is an excellent cover, sealed by the gravelly voice of frontman Matt Pike (also the guitarist for Sleep). Another cover, "Don't Bother Me" from Bad Brains' demo album Black Dots is another terrific thrashy cover that shall certainly delight fans of that band.

So what we have is a stoner/sludge instrumental and two thrashy cover songs. The two sounds aren't combined together, but when put into the same EP, they perfectly fit side by side. Totally worthwhile and smashing for a short EP!

Favorites: all 3, but I certainly enjoy the title instrumental

Some of the best albums I've encountered come from bands that have been around for a long time, like a decade or a few. I never heard a song from this band until an outside-world friend showed me one that was a total rocker (we will get to that soon). Boy, was I hyped up! Here we have guitarist/vocalist Stephen Brodsky (Cave In), drummer Ben Koller (Converge), and bassist Jeff Matz (High on Fire). Talk about a powerhouse lineup! Mutoid Man has often been considered a stoner metal band, and well, I won't say that's inaccurate, but their sound is more like a hodgepodge of different styles, ranging from rockin' and rollin' to heavy and doomy.

Mutoid Man first formed in 2012 as a collaboration project between Brodsky and Koller. They've really driven through in the guitars and drum rhythms, not to mention how pulverizing ex-bassist Nick Cageao sounds when he plays his instrument. Brodsky knows how to make sure his vocals catch up with all that heavy technical speed. The lineup created two albums, Bleeder and War Moans, released in 2015 and 2017. Then after a Covers EP in 2018, not much activity spawned from the band. The members focused on their respective main bands, with Brodsky mourning the loss of his Cave In bandmate bassist Caleb Scofield (RIP). In 2023, one year after Cave In's Heavy Pendulum, Mutoid Man make their comeback in their new album Mutants, with Matz joining in as their new bassist.

Blasting off this kick-A offering is the energetic "Call of the Void", the song my outside-world showed me that made me up to checking out this album. The band sprint guitar screeches and drum tapping as Brodsky lets out more of his emotion to cope with the grief from the fallen bassist who is Scofield. Beach Boys-inspired choral melodies and hyper technicality are blended together at ease in this hard rock/speed metal piece of art. "Frozen Hearts" is another haunting highlight with darker lyrics, "I don’t wanna know anything right now, 'cause I would probably go anywhere right now". Lots of brooding speed/hardcore darkness there! Then we really slow down in "Broken Glass Ceiling" for some mid-tempo stoner metal in the groovy verses before speed up for some more of the thunderous hardcore/speed metal, heavy as ever. So far, we have a lot of hardcore speed going on, only slowing down for their stoner sound when necessary. And there's more of this diversity to come...

"Siren Song" is another top-notch highlight. It offers a bombastic blend of stoner metal and Sabbath-esque heavy metal with some technical speed and progressiveness at times. The catchy lyrics fit well with the synergy the musicians have. "Graveyard Love" returns to the hardcore/speed metal, sounding like a more metallic Ramones to go with the fun lyrics. The heavy sludgy "Unborn" is a total stoner head-beater that soon speeds up into one of the more progressive tracks, similar to early Mastodon.

Then "Siphon" kicks off having some of the math-ish metalcore instrumentation of Converge and The Dillinger Escape Plan then continues on in progressive/sludge metal again as the vocal harmonies and growls blend together. "Demons" has more of an old-school hard/pop rock vibe that then becomes more progressive to hook you up in a whirling banger. "Memory Hole" is a straight stoner/sludge metal song. It's quite good, though a little more of a silver gem in golden treasure. The 6-minute finale "Setting Sun" summarizes everything in this album, starting with slow stoner metal, then speed up into the usual hardcore speed, with lots of progressiveness added when necessary.

Mutoid Man have provided a special delivery of stoner/hardcore/speed/progressive metal! There are so many high points spawned from the consistent flow of Mutants that makes me want more from this band. It's awesome enough that Koller and Brodsky, already two legends from the metalcore scene, know how take care of business together, but Matz is the missing piece of the puzzle for their masterpiece of solid power. Hope you're in for an incredible trip through a strange yet exciting universe!

Favorites: "Call of the Void", "Frozen Hearts", "Siren Song", "Siphon", "Setting Sun"

I'm not gonna lie, when I initially gave the new Persefone EP some listening, I thought I was hearing their melodic deathly progressive metal in full force, enough to give it 4.5 stars. But now that I've listened more thoroughly for the sake of reviewing, let's just say, the rating dropped a full star. This is the band's usual sound shining throughout their discography, so what went wrong?...

The problem here is the vocals (by new vocalist Daniel Rodriguez Flys, replacing longtime vocalist Marc Martins Pia) and the riffing. They both often sound closer to metalcore (though not enough for The Revolution). Now I love metalcore, and I know where the genre should stand. Sometimes it works, sometimes it doesn't.

Even during the intro, "Sounds and Vessels", the unfitting modern influences cause things to go down in sh*t with pointless filter. The first full song "One Word" makes up for that hard, and the clean chorus is a much better representation of their metalcore-ish experimentation. "The Equable" also has that kind of chorus but more unstable. There's more of the usual deathly progressive chaos going on, but when it's blended with the metalcore-infused riffing, things can sound a bit out of place. Of course, the guitarwork can still be good at times when it's performed more properly.

The best riffing comes on in the title track. Here we have some great guitar soloing to level up the surrounding riffing and give the EP some redeeming value. This definitely throws back to the band's better earlier material. Although the verses and choruses can sometimes get me ticked, they're still at their best here. The cleans should've been slightly reduced though. "Abyssal Communication" is a cool outro, but I should say no more.

Lingua Ignota: Part I is slightly disappointing compared to the band's previous releases, even Metanoia. It's not horrible, but it doesn't show the strength Persefone had early on. While there are a couple highlights, this new blend of deathly progressive metal with metalcore elements, which sounded cool in theory, better be improved for Part II....

Favorites: "One Word", "Lingua Ignota"

Stortregn started off as a melodic black/death band before dumping most of their black metal elements for more of a progressive/tech-death style. Their new album Finitude sealed their sound, and even more so since their signing to The Artisan Era, a record label that has published dozens of releases of technical death metal or symphonic black metal. Lots of melodic shredding to be found in this offering!

Finitude is the 6th full-length by this Swiss band, and it has some solid high-quality detail. Many of the songs are quite excellent and have brought this extreme technical style up for its fans to be pleased.

Crashing in is the title opener, with a great amount of furious shredding and flamenco-style soloing. "A Last Battle Rages On" indeed rages on in high aggression, perhaps higher than most people would expect. Expect the unexpected! Standing out well is "Xeno Chaos" that bursts out more than a human-killing Xenomorph (unrelated). It truly is special as the progressive tech-death rises up in melody.

Flamenco elements continue to cover tracks like the blazing "Cold Void" in the acoustic outro seguing into the next track. The blistering "Rise of the Insidious" has more of that neoclassical soloing going on beyond belief.

The ominous doom in "Omega Axiom" begins to show a sign that the band is starting to slow down towards the end of the journey. I guess it is good for the band to steady themselves so they don't get tired out too much before a final impression. Well, that sign is highly true, as the stellar "De Inferno Solis" has killer blast-beats in contrast to the melodic guitars. "The Revelation" ends it all with the best shredding you can find here.

Here we have a polished melodic/progressive/tech-death album in which the band attempt to spice it up with elements from the outer music realms. It's almost like a more brutal Persefone on steroids, though a bit pompous here and there. All good as long as they know what they're doing....

Favorites: "A Last Battle Rages On", "Xeno Chaos", "Rise of the Insidious", "The Revelation"

In my journey to find new and undiscovered releases, there have been many ups and downs. This also counts for releases that have been recommended to me. I always appreciate the help I receive for my journey, though reviewing them is always about giving an honest opinion. Sometimes I end up loving a band to bits (Ryujin), and sometimes not so much (xNOMADx). And this one is somewhere in between...

Circuit Circuit perform a promising sound of experimental mathcore. After their self-titled EP, they made another one, Body Songs. And here we have some great powerful mathcore that leans into nu metal.

Opening the EP is "I Dream the World Awake", with a guitar riff loop before vocals crash in. Then the guitar halts for a bit of drum tapping before exploding into total riff noise. The riffing basically mashes together the early 2000s eras of Converge and Linkin Park. "Slander Eats Slander" is the most nu metal-ish song here. The sound is once again blended with mathcore in the guitar groove to make this track quite haunting.

Single "Deleted Skin" has more of that punishing guitar groove. All of that groove leads to a destructive breakdown with screams of "STUCK IN MY HEAD?!? OF COURSE NOT, OF COURSE NOT!" How killer is that?!

"Blood in My Eye (Holy Human)", like the opening track, starts with a guitar riff loop that then squeals its way into speed. The vocalist's impressive range blasts in before another killer breakdown and some more riff crunch. Disorienting, but a better track for the band's nu metal-ish side. Then it segues into "Null", beginning with slow riffing from the bass and eventually guitars that continue to loop. "HOW POINTLESS IS IT?!?! THE END OF THIS WORLD WILL BE SOON!!!" A true chaotic mathcore attack!

Well this EP could do without the abrupt cut-off at the end. Nonetheless, Body Songs is a solid offering of nu-mathcore. Guitar grooves and shouted vocals have surely united two separate realms from the early 2000s in the present. The circuits these guys have will keep you wired....

Favorites: "I Dream the World Awake", "Deleted Skin", "Null"

At times when he's not recording or performing with his main band, Trivium frontman Matt Heafy has experimented with his own projects of different styles. Having been interested in black metal bands like Dark Funeral, Darkthrone, Dimmu Borgir, and Emperor, he wanted to explore more of the genre. Heafy also used some of the mythological lyrical influences heard in Shogun and In the Court of the Dragon to set an interesting theme for Rashomon, here based on Japanese folklore...

The end result is a blackened progressive metal album that's basically a whole different Trivium! Alex Bent's drum skills are heard throughout the album alongside Heafy's vocals, guitars, and bass. Guitarist Corey Beaulieu and bassist Paolo Gregoletto appear each only in one guest appearance. Trivium's formula of heavy screaming verses and melodic clean choruses are around with thick guitars and technical drum blasts. Heafy has a lot of vocal confidence, especially in the cleans. Adding to the uniqueness is the epic Eastern folk influences later used in Ryujin. All part of the extreme prog channeling Heafy's inner Enslaved and Opeth.

The waltzing intro "Hakanaki Hitsuzen" (Ephemeral Inevitable) starts off the album with Eastern symphonics and choir, but it doesn't have the epic feeling that I got from the latest two Trivium albums. Pretty much the only major negative part here. But then we crash into "Kagutsuchi", an incredible piece of violent yet melodic blackened prog-metal. How did I not hear this until now??? "Ibaraki-Dōji" can be considered the project's theme song. Lots of kick-A gold as Heafy brings out his Ihsahn influences in the guitars and vocals. An excellent underrated song, though it can do without the softer bridge that covers the 3rd quarter of the track. Steering away from the Trivium direction a bit, "Jigoku Dayu" (Hell or High Water) sounds closer to some of Opeth's softer classics.

"Tamashii no Houkai" (Destruction of the Soul) is another perfect extreme highlight with an epic chorus. "Akumu" (Nightmare). has Polish lyrics growled by Nergal from Behemoth, but it later has a strange marching bridge riff. "Komorebi" (Sunlight Filtering Through the Foliage) has a similar but more satisfying progressive structure.

"Rōnin" is the climatic 9-minute epic of the album to hook you up high. There's a long folk bridge, and in the heavier sections, Heafy has given unclean vocal duties to Gerard Way of My Chemical Romance. And HOLY F***!!! Gerard can perform memorable shrieking vocals more vicious than other black metal vocalists out there! One more heavy track, "Susanoo no Mikoto" has guest vocals by Ihsahn who also performed guitar in a couple previous tracks. "Kaizoku" (Pirate) is a fun accordion ballad to close the album.

Matt Heafy has not given up on his mythological ideas after In the Court of the Dragon. He used some of those ideas in the debut album of his own project Ibaraki. It has turned out well-done, though not as perfect as Trivium's 2020s albums. Rashomon has taken Trivium's incredible glory and gave it more adventure in its writing and lyrical theme of Japanese legends. I would probably have mixed feelings for this album if it came out when I was still a teenager who preferred melodic over extreme. The themes of Shogun have matured more in this project that shall be heard by any extreme progressive metal fan!

Favorites: "Kagutsuchi", "Jigoku Dayu", "Tamashii no Houkai", "Komorebi", "Rōnin"

My New Year's resolution, as it has been for the past few years, is to discover more metal music. And it's not easy when having to juggle between that, family, and writing books. Looking for new or undiscovered metal bands/releases is a never-ending journey that is worth precious time for me. Once I learn how to drive, I'll pop in some metal tunes and listen all the way on the road. Napalm Records has never ceased to amaze metalheads with their diverse roster. Many of my favorite metal bands are signed to that record, including this newfound favorite... RYUJIN!

Ryujin's self-titled album can be considered a debut album from a whole new band, but there's more history to uncover if you're curious about their previous incarnation Gyze and the band's founding brothers Ryoji and Shuji Shinamoto. Formed in 2009 as Suicide Heaven, the band changed their name after it was deemed inappropriate following the 2011 earthquake. Gyze had since made 4 albums throughout the 2010s, then in 2023, renamed themselves after the Japanese dragon god Ryujin and started making their first offering under their new moniker. I was not familiar with this "samurai metal" band or any of its incarnations until this album was recommended to me, and it just blew my mind! I might just head back to the death metal realm with this fantastic epic extreme blend.

The short intro "Hajimari" (The Beginning) begins the album with sounds of a battle in the Eastern Lands. Then the extreme thunder is unleashed in "Gekokujo" (Lower Door Extermination). The Eastern atmosphere blazes through the music, alongside the metal force of Shuji's drumming and Ryoji's guitar riffing/leads and screamed/growled vocals. More of the Eastern elements come in nice and early in "Dragon Fly Free". The catchy oriental flute shines over the riff rhythms of In Flames. A cool highlight worth repeated listening! The intro chorus of "Raijin & Fujin" already brings in a standout element for the album, the occasional guest vocals of none other than Trivium frontman Matt Heafy, who is also Ryujin's manager and producer. His clean singing give the band more of a power metal vibe to their thrashy melodeath than ever before, alongside the melodies and rhythms. Killer riffing, leads, and symphonics, help truly shape this masterpiece!

"The Rainbow Song" has more of Heafy's clean singing in a catchy mid-paced power metal tune. The singing takes the place of much of the usual growling, and the guitar melodies help make the song another winning highlight. Some more of the power metal side of the sound comes in the speedy "Kunnecup". Then "Scream of the Dragon" returns to the heavier melodeath, while having a soaring chorus. "Gekirin" (Search) blends a bit of the death metal of Pestilence with the epic symphonic melodies of Epica.

"Saigo No Hoshi" (The Last Star) is more of a radio ballad, but it's quite exceptional. The chorus actually hooks you up with memorable beauty. There's an English version of that song, which we will get to soon. The 7 and a half minute epic "Ryujin" can practically be considered the band's theme, not just in the title but also how it exemplifies the whole album's sound. "Guren No Yumiya" (Crimson Bow and Arrow) is a cover of the song by Linked Horizon for the anime Attack on Titan, and it has the same mighty power as Epica's cover. The aforementioned English version of "Saigo No Hoshi" has more of the vocal talents of Matt Heafy that you just gotta love.

I highly recommend Ryujin for anyone willing to hear epic Eastern metal. I have absolutely nothing to complain about for this perfect product of fresh ideas. You get to enjoy almost an hour of Eastern-folk-influenced melodeath/power metal. And if anyone that I recommend this album to say otherwise, what matters is, I had fun, and I want to play this some more. I feel like headbanging in joy right now. A true piece of Eastern metal!

Favorites: "Dragon Fly Free", "Raijin & Fujin", "The Rainbow Song", "Gekirin", "Ryujin", "Saigo No Hoshi" (English version)

Melodic hardcore/metalcore has indeed been underappreciated in the present when bands have gone the more djenty route. As rare as it would be to find an EP like this one from xNOMADx released in this decade, I personally don't think of On Skylines of Embers as the legendary classic that people in the future will consider it. It's quite decent, but it's missing the spark that similar-sounding bands had in the 2000s such as Shadows Fall, For the Fallen Dreams (especially their debut Changes), and Unearth.

The songs here are good with their melodic heavy riffing and vicious vocal fury, but not enough to make highlight territory. The one exception is the sick "Acephale", with its otherworldly riffing and clean/scream duet at the end, both marking this song a perfect gem. But the rest of the EP? Not really the best, but worth a try....

Favorites (the one highlight to really stand out for me): "Acephale"

The comic strip Pearls Before Swine has a book collection titled "Rat's Wars", with the cover parodying Star Wars. So I guess that's a good excuse for me find the name of this album amusing. However, the album itself is quite dark and serious...

Rat Wars followed the second part of Health's Disco4 album series from the previous year, and they've been known for their industrial/noise rock sound with influences from electronica and metal. The latter has been put forward more prominently in their new album, along with more cohesive focus from Slaves of Fear. The lyrical themes of trauma and lack of young love flow smoothly through the complex production.

"Demigods" begins the album as vocalist Jake Duzsik sings those lyrics while kicking through drum reverb and riff crunch. "Future of Hell" hammers through the fury of a futile search for a lost soul. The more aggro-technical "Hateful" has swift synth-work by Sierra. "(Of All Else)" segues in with some dance beats.

"Crack Metal" has a sound than can be considered like Nine Inch Nails but with more metallic torment. Still they're not afraid to blend their industrial metal with other genres. "Unloved" comes out almost like a Depeche Mode ballad. "Children of Sorrow" is a powerful jam of dark synthwave metal. It stands out with metallic riffing performed by Willie Adler of Lamb of God. Then "Sicko" follows as another highlight, sampling Godflesh's "Like Rats", specifically its noise-powered bridge ("You breed...like rats!!").

"Ashamed" has more emotional vocals by Duzsik and deep catchy synths. "(Of Being Born)" segues from there as a sweet yet ominous conclusion. "DSM-V" charges through with Rammstein-esque industrial metal rhythm. After using up their last bit of power, it all ends with the soft brooding "Don't Try", striking through intimate perfection.

I wouldn't say Rat Wars would make too high of an impact for the future of industrial rock/metal, but it sounds like they have what it takes. Personally, I think a few of the softer sections could use a little more oomph (NOT the NDH band) so I won't be easily distracted and can stay in attention. Almost two decades into their career, and Health is already branching out further into metal territory while discovering the darkness of one's mental health....

Favorites: "Future of Hell", "Crack Metal", "Children of Sorrow", "Sicko", "DSM-V", "Don't Try"

I didn't feel too bad about severing my ties with heavy/power metal. However, recently this band Beast in Black became popular among some of my metal-loving friends and even my brother who recommended one of their songs to me, so I knew I had to check out their music. I was blown away by the 80s pop-influenced synths, riffs, and solos by founder Anton Kabanen. He was part of a similar band that's more keyboard-focused and female-led, Battle Beast before he left in 2015. Now I can hear his masterful writing again in a different band. His stylistic antics can be heard in the brilliant new Dark Connection!

Ever since Kabanen left Battle Beast, that band ended up descending into a more hard rock-ish direction. Their earlier thunderous 80s-inspired metal would be brought back up by Beast in Black, though here they have a male vocalist named Yannis Papadopoulos with high Halford-like shriek-singing to go with his power metal delivery. The earlier synth prominence now takes on a cyber-electronic vibe, which fits well for the 80s sci-fi themes in many of the songs. You may already know that theme just from the cover art with the cyborg woman in a computer realm. The songs in the album focus a little more on atmosphere and don't force in too much heavy impact, and that's the kind of blend I'm looking for, with elaborate lyrics to match.

Opening this offering is "Blade Runner" (an obvious nod to a certain 80s sci-fi film) punches through with the fury of Kabanen's time with Battle Beast, adding in some Accept influences in the impressive vocals and guitar shredding, in addition to sweet keyboards. Having a little more groove is "Bella Donna", with more of the Accept-infused riffing combined with 80s techno-pop hooks to sing along to. "Highway to Mars" pays tribute to Total Recall with an anthem of rage and rave, as Yannis continues his power metal vocals delivery. The song title "Hardcore" made me think there would be some hardcore/metalcore influences, but NOPE, none of that. Still pretty cool though.

The techno-fueled single "One Night in Tokyo" combines the band's metal heaviness with ABBA-like pop synths that can almost fit well in Mortal Kombat. The slow long keyboard cruiser "Moonlight Rendezvous" has more of a synthwave vibe that sounds fresh out of a 90s sci-fi anime. Killer soloing appears in "Revengeance Machine". The technical speed goes wild in the power metal, enhancing the catchy melody of this band and genre. "Dark New World" continues the headbanging metal.

"To the Last Drop of Blood" is the song my brother recommended to me that finally made me cave in and explore what's all the rage between my metal-loving friends, to fantastic results! The 80s-rock-powered riffs and hooks punch through again with easy 80s action film potential. "Broken Survivors" has more of the 80s synth beauty. The serene symphonic closing ballad "My Dystopia" is actually one of the most memorable songs here. So beautiful! Two bonus tracks appear, starting with a cover of Manowar's "Battle Hymn", maintaining the smooth epic metal march and militant lyrics in a better fashion. Then another cover, this one of Michael Jackson's "They Don't Care About Us". Yannis makes an impressive impression of the King of Pop's falsetto, though I'm a little surprised the original lyrics that were deemed derogatory to Jews were kept in.

What a massive perfect album Dark Connection is! This blend of melody and heaviness complete with 80s sci-fi vibes has made me up for another attempt in reviving my on-off relationship with power metal. Nothing can get more modern and retro simultaneously than this offering!

Favorites: "Blade Runner", "Highway to Mars", "One Night in Tokyo", "Revengeance Machine", "To the Last Drop of Blood", "My Dystopia", "Battle Hymn" (Manowar cover)

As someone who prefers melodic/technical death metal and other metal genres, I don't really consider brutal death metal my thing in most cases. MOST. With that said, I like this album. This is killer brutal death metal right here! Neuropath recorded two demos in 1995 before disappearing into oblivion, though those who have been in this website for a long while would know Daniel's journey in the decades since the band's demise.

Although there were a few recent shout-outs to the band and their music here, it wasn't until this album compiling the two demos was released by Sphere of Apparition Records in late 2023 that their material would finally hit the stores. And how can a more extreme metalhead not like this pure brutal strength!? All of the band's members are talented, though the two who really deserve the spotlight in my honest opinion are Daniel with his massive guitar skills and Mark Wangmann with his vicious death growls. The new mastering by Bjorn is certainly a true enhancement to the production.

This whole compilation works well as a powerful extreme journey, so describing its songs won't do them justice, though I can mention the songs I enjoy the most in the usual favorites section below. I would love it slightly more if I loved brutal death metal more. Still this is a great well-done example of the genre, and I'm not just saying it to be nice. Mandatory for Horde members and death metal fans in general! Great support comes with true rewards....

Favorites: "My Bleeding Mortality", "Copulation of Insanity", "Vulgar Rebirth", "Rectal Pulpation"

On December 15, 2019, Finnish melodeath legends Children of Bodom performed their final concert then split up, with 3 of the members taking the rights to the band name with them. Remaining members Alexi Laiho and Daniel Freyberg formed their own project Bodom After Midnight, which abruptly ended after the tragic passing of Laiho at the end of 2020. He was a rising star in the Finnish metal scene with his vocal fury and guitar wizardry. A Chapter Called Children of Bodom was released exactly 4 years after their final show which was recorded for the release, for fans of the band and melodeath to hear them perform for the last time...

The band really show their roots as they primarily play songs from their first 5 albums plus at least one song from each of their other 5. They know how to add elements of other genres in their Finnish melodeath. They can make things epic or electronic, without soiling the sound they're known for. Those, along with distinct melodies, are what really display the band's innovation.

Opening the show is "Under Grass and Clover" from their final album Hexed, which actually has the best lyrics I've heard from the band. The saddest too, considering the tragic circumstances the lyrics hinted at. Still that's incredible metal from Laiho and co. Heading straight into "Platitudes and Barren Words", you get a catchy chorus with a rare case of true rawness in Laiho's vocals. "In Your Face" doesn't waste any time loading up the riff crunch, slamming hard in your face! The earlier fans will truly headbang through the straight-on heaviness. Amazing metal blasting from the guitars without much of the fancy leads! "Shovel Knockout" seems to have some trouble getting up in the riffing that sounds uninspired. Despite that, there's excellent keyboard work. Don't let the humorous title of "Bodom Beach Terror" trick you. This is a serious fast-paced track that blends upbeat melody and crushing brutality. It really shows the band's sound at their best level.

The crawling atmospheric "Every Time I Die" is a true classic. It kickstarts the band's trend of adding at least one slower song to each release. Mid-tempo songs with distinct melody like that are true highlights, taking a break from the harmonic technicality for atmospheric melodic leads. It is an essential part of the melodic side of extreme metal that wasn't fully explored until Children of Bodom first entered the scene. "Halo of Blood" heads straight into some of the fastest black metal-ish riffing they could perform. The interesting "Are You Dead Yet?" starts off with thundering riffing sounding almost Egyptian, over pummeling drums. The verse riffing zooms through your head like a gunshot. "Blooddrunk" adds more prominence to the keyboards. Janne Wirman shows his amazing key evolution. "I Worship Chaos" is more repetitive, but the hooks are OK.

Getting things up better is "Angels Don't Kill" with thoughtful lyrics, though not too amazing. Still it's another well-placed ballad to break up the speedy intensity. For "Follow the Reaper", the leads in the chorus are definitely worth starting a moshpit. "Deadnight Warrior" jumps out of thunder into fast keyboards and guitars, as the harsh vocals make great contrast with those melodies through this fast pace. You'll definitely enjoy that killer neoclassical solo as much as I do. The more melodic-ish and spoken parts of Laiho's vocals is best exemplified in "Needled 24/7" to add great variety.

Henkka Blacksmith rolls in with some audible bass in "Hate Me". Taking the hate further is "Hate Crew Deathroll" which is so g****mn extreme and vulgar yet a true anthem. "Lake Bodom" has legendary keyboard/guitar dueling intro than is worth practicing anytime. The complexity is so intense, as is the rapid soloing from both instruments. The melodic "Downfall" is the final song performed in the concert. It shall be appreciated as kick-starting the band's atmospheric side that they had displayed ever since.

A Chapter Called Children of Bodom is truly the final chapter for perhaps the most iconic band of Finnish melodeath. They had truly shaped the scene since their inception 30 years ago. Their legacy is something we shall never forget!

RIP Alexi Laiho

Favorites (one track per album): "Under Grass and Clover", "In Your Face", "Shovel Knockout", "Every Time I Die", "Halo of Blood", "Blooddrunk", "I Worship Chaos", "Deadnight Warrior", "Hate Crew Deathroll", "Downfall"

The Swiss masters of industrial metal have diversified their sound, starting off as black metal in the first 3 albums from the first half of the 90s, up until the style they're known for today. Reign of Light continues the heavy/melodic industrial metal blend first solidified in Passage and Eternal. Their skills are so appealing despite a more pop-ish direction here. They certainly started off their time in the 21st century quite well.

It should be said that most of the highlights in the album make up its first half. It's during the second half when the quality drops more than Eternal, with only a couple songs there being good. So let's begin with those better tunes...

The opening track "Moongate" is a pretty good start. Now as a Muslim, I know that when a relative tells me to say hi to my family for them, I say "Inch'Allah". That song has tense verses, but the chorus it builds up to is a slight letdown. Still it's a strong highlight. "High Above" seems to drag in the rhythm, while the oriental vibe from the female singing is enjoyable. The title track starts with keyboard synths before some heavy riffing. The chorus builds up from the verses and better and leads to a strong bridge.

Then comes "On Earth", having the most melody here, as he rhythm matches with the harmony. While having dreamy lyrics, the rough vocals balance them out. "Telepath" symphonic industrial metal sound bright and clear, in need of more attention than Rammstein. Unfortunately, the oriental elements in "Oriental Dawn" sound too pompous.

Next song "As the Sun" is a f***ing embarrassment. The 80s electro-synths are too cheesy, and Vorph attempts to sound like a rapper in the verses, but it doesn't work at all. We get one more highlight in "Further". Its slow relaxing sound is as great as the heaviness of the other standouts. Things get sinister in "Heliopolis". More of the oriental vibe starts things off before getting heavy. The female vocals once again add to that vibe. Final track "Door of Celestial Peace" isn't too bad, but I don't have much to say about it.

Despite the album's bumpy second half, Reign of Light has great heavy production. Samael knew how to make their atmosphere vary with more than just industrial, with the instruments and vocals dominating together. So come, step into the light....

Favorites: "Inch'Allah", "Reign of Light", "On Earth", "Telepath", "Further"

Hearing a single from the upcoming Madder Mortem album made me excited for that album and up for more of this band. The frontwoman Agnete M. Kirkevaag has a lot of talent within her vocals, and you can almost consider this band a metal resurrection of Siouxsie and the Banshees. Honestly, I would go mad if I don't have this band's music in my life! And their doomy debut brings me to a fantastic beginning of their discography...

The only thing I hate about this album is the fact that I overlooked this overlooked masterpiece. There are some people who aren't fans of female-led metal bands, thinking they're incapable of "real metal" and more focused on commercial success than actual talent. Now that kind of opinion is unfair, not to mention sexist. I don't listen to a lot of the more popular female-led metal bands like Nightwish and Epica as much as I used to, but the fact that those bands' lead vocalists are female is not even close to the reason. For Madder Mortem, their debut Mercury is pure creative heaviness, and Agnete M. Kirkevaag profusely enhances it with her vocal talent and lyrical originality.

From the start, "Undertow" opens the progressive doom gates. The more melodic "Under Another Moon" adds some subtle autumnal folk elements. Same with "He Who Longed for the Stars", as the doom has slower emotion.

Another album highlight is "These Mortal Sins" with its Trail of Tears-like faster gothic metal sound. "The Grinding Silence" sounds more obscure, yet it gives the distant sound a more mysterious atmosphere. It's a great balance between the soft acoustic piano and the heavy electric guitar. Another killer favorite here is "Loss", having catchy heavy rhythm to headbang to.

More of the heavy riffing appears in "Remnants", right in the face, after the rest of the instrumentation lurks around subtly yet sinisterly. "Misty Sleep" has more effective vocals from under the deepest depths, rising in forlorn grace. Agnete's brother guitarist BP provides occasional background vocals that sound deep in contrast to Agnete's vocal harmonies. Ending things eerily is "Convertion". The closing epic perfectly summarizes the desolate Autumn atmosphere of the album and artwork. The distorted guitars, technical doomy drums, soft acoustic guitars, dreamy keyboards, and calm yet powerful vocals are all there. Truly hypnotic!

Before their heavier progressive metal sound, Madder Mortem took on melodic progressive doom. With gentle vocals and ethereal riffing, Mercury would have no trouble being part of the rare progressive doom club that included Atrox, The Foreshadowing, and The 3rd and the Mortal's Tears Laid in Earth. I wouldn't say this album is gothic as some people would consider it, though it has the bombastic drama of the genre at some points. The album is from a time when gothic/doom's pinnacle decade of the 90s was reaching its end, as Paradise Lost and The 3rd and the Mortal already discarded their heavier roots, and Theatre of Tragedy and Type O Negative each made their last doomy album before a more mainstream sound. Madder Mortem ended that era with a bang. With Mercury's influential melancholy, this bleak sound shall never die!

Favorites: "Undertow", "These Mortal Sins", "Loss", "Misty Sleep", "Convertion"

It's a little tough finding a good Sphere band that didn't have a feature release last year, but ultimately I decided on the new album from this underrated band that never really gets talked about here often. Omen X continues the journey Turmion Kätilöt has had for 20 years, starting off on a perfect note with Hoitovirhe, plummeting down in quality in Perstechnique, and in subsequent albums, slowly climbing back up. The ascent continues with Omen X, another album in the perfect height of Universal Satan!

The band, consisting of vocalists MC Raaka Pee and Shag-U, guitarist Bobby Undertaker, bassist Master Bates, keyboardist RunQ, and drummer DQ, continue what MC Raaka Pee started with ex-guitarist DJ Vastapallo. All going according to plan in Omen X, their 10th album and second one released by Nuclear Blast.

"Totuus" (The Truth) kicks off the album hard with its trance-y industrial metal energy, with the vocals and riffs making a festive combo, though it makes me think too much of Electric Callboy. "Gabriel" has more of a marching pace. Aggressive vocals and cinematic keyboards fit together like a glove. "Vie se pois" (Take It Away) has ominous intro that leads to the music soaring through darkness.

The energetic "Pyhä kolminaisuus" (Holy Trinity) can get you excited with its catchy chaos from the electro synths and riff groove alongside background choirs. After that, "Puoli valtakuntaa" (Half the Kingdom) starts with soft melancholy then immediately launches into the usual riff/vocal aggression. "Verestä sokea" (Blood Blind) has some heavy groove to please some metalheads. Still staying effective despite entirely using Finnish lyrics, "Isä meidän" (Our Father) has some eerie children's choirs leading into aggressive insanity. Tell me it's not a dream!

The heavy fun "Sormenjälki" (Fingerprint) bounces through different riffs and keyboards for a great time, though the vicious vocals question its suitability for parties. "Käy tanssiin" (Go Dancing) has massive darkness as the keyboard melodies get their kicks. "Kun kesä kuoli" (When Summer Died) once again blends heavy rhythms with catchy beats that guide you into a spine-chilling chorus. Wrapping things up is "Kuolettavia vammoja" (Fatal Injuries) which, despite its softer vibe, is a perfect way to go out.

Without a "To Be Continued" track, this raises some questions, like is Omen X the last part of the band's saga since Technodiktator? Will there ever be more? I hope so. And I already have that hope since becoming fully ready for this band just a few months ago. There's no doubt Omen X will get you hooked into dance-y industrial metal. Party on!

Favorites: "Gabriel", "Pyhä kolminaisuus", "Verestä sokea", "Sormenjälki", "Käy tanssiin", "Kuolettavia vammoja"

The previous Turmion Katilot album Universal Satan marked their first album with new co-vocalist Shag-U joining the team consisting of Mc Raaka Pee, Master Bates, Bobby Undertaker, RunQ, and DQ who have all banded together since the 2000s. They've toured in different countries and with other bands from their country like Beast in Black and Nightwish. These guys will get you pumped up, that's a warning. A Global Warning! Especially with the unique lyrical blend of philosophical and partying.

Global Warning is an album title that's almost relevant to the world at the time, though the album was written and recorded before the pandemic. Despite the English title, all songs are sung in Finnish. I may have trouble understanding the lyrics without translating, but the music and vocals are highly enjoyable enough to not make that a big issue.

The fantastic "Naitu" (Married) is a fast, catchy, and bad-a** starting highlight with some oriental folk elements. There's some amazing industrial-trance metal to love here! "Kyntövuohi" (A Plow Goat) plows through in heavy darkness and pummeling drumming. "Sylkekää siihen" (Spit on It) starts off sounds like a dark twist to a nursery rhyme as keyboards and drums rise up for you to dance to the beat. The brutal vocals make an astonishing contrast with the cinematic classical strings and choirs. "Viha ja rakkaus" (Hate and Love) has a bit of Rammstein vibe, and would be even more like that if it was sung in German. The dark vocal duo shines well here. And you can hear more of that aspect in "Turvasana" (Safe Word).

"Kuoleman juuret" (The Roots of Death) keeps the vocal strength going further with more brutal energy than Rammstein. Also part of the songwriting team, keyboardist RunQ (Janne Tolsa) performs golden melody in the chorus. "Syvissä vesissä" (In Deep Waters) is a good throwback to the band's earlier material from the 2000s. "Sano kun riittää" (Say Enough) might fool you into thinking this might be a ballad in the first half-minute, but then it descends into darkness in the vocals, guitars, and keyboards, all while maintaining the dance beat. "Jumalauta" (Oh God) has more of the humor of Rammstein while staying catchy.

"Revi minut auki" (Tear Me Open) once again takes you back to the band's beginnings, especially their debut Hoitovirhe with the perfect spark of their earlier sound. Perfect for party rocking, despite the lyrics I don't dare to mention. "Syntisten laulu" (Song of sinners) starts off sounding dark and sinister in the guitars, though the keyboards have more uplifting light. "Ikävä" (Tedious) greatly mixes together dance-y hypnotic keyboards with dark brutal guitars. The rough vocals here make up for the otherwise monotone chorus just chanting the song title. "Mosquito à la carte (To Be Continued 5)" continues the experimental "To Be Continued" closing tracks, this one starting with what sounds like Spanish flamenco before launching into more of the Rammstein-like sound. In terms of the saga, I say this song is in mid-quality between the poor half in Technodiktator and Diskovibrator and the better half in Dance Panique and Universal Satan. It's also the last song of the saga, since their next album Omen X doesn't continue that trend.

The aforementioned warning depicted in Global Warning is more than just a warning. It's a promise that's been rightfully fulfilled. Another commendable recommendation for anyone in the industrial metal Sphere!

Favorites: "Naitu", "Sylkekää siihen", "Kuoleman juuret", "Sano kun riittää", "Revi minut auki", "Ikävä"

Dance Panique continued the phenomenal Finnish industrial metal sound of Turmion Katilot. However, it turned out to be their last one with longtime vocalist Spellgoth (the band's other vocalist besides MC Raaka Pee), who left the band in the time between the 2017 album's recording and release. He wanted to focus on his black metal Horna and general Satanism, but he's still with Turmion Katilot as a graphic designer. Later that year, they found a new singer with the stage name Shag-U (a name as ridiculously entertaining as MC Raaka Pee). With their new co-vocalist, the band got to work on their new album, one that should really hit universal acclaim, Universal Satan!

You know how after my least favorite Turmion Katilot album Perstechnique, they started regaining their earlier strength in subsequent albums, each one stronger than the last? Universal Satan is mighty as h*ll, and they're finally back to perfection of Hoitovirhe! This may have something to do with Shag-U having heavy vocal skill, almost more than that of Spellgoth. He and MC Raaka Pee can certainly team up to guide the instrumentation that's heavier and more violent than ever.

"Verenperintö" (Blood Inheritance) starts off with spooky organ and the first glimpse of Shag-U's vocals, then launches in the band's usual dance-y industrial metal. "Itseensäsekaantuja" (Self-Interfering) is worth letting the crowd dance along. Single "Sikiö" (Fetus) is one of the best songs I've heard from this album and the band's discography. Holy h*ll, what a total gem, and a genuine reason for the album's full 5-star rating! The only track better than that is "Love is Dead", all vicious and out for blood. Like a wolf, the song grab you by the neck and never let go from start to finish. The instrumentation thunders through alongside the excellent vocal duo. With upbeat music and English lyrics to desire, you can't skip it!

"Viimeinen matka" (Last Journey) has some fast melodeath riffing you can almost hear from Omnium Gatherum and Persefone, but the sound is mostly a more melodic take on the industrial metal of Mnemic. Another gem is "Helvetin torvet" (Horns of Hell). You can hear some of the most diverse lyrics from the band, all fitting well with the music they're known for. What "Rangaistus" (Penalty) has is catchy melody that the band can perform without any shame. Also great and powerful is "Suurempi voima" (Greater Power), a strong industrial metal march.

"Saatanan siunaama" (Blessed by Satan) is another true blessing. The second track here with English lyrics is the fun "Faster Than God", which is the first ever track I found from this band when assembling the Sphere playlists. I enjoy it, but it's overthrown by the earlier highlights. A special track, "To Be Continued 4 Je T'aime" (I Love You), experiments with jazz fusion, featuring Finnish actor Heikki Kinnunen. A wonderful work of art, though I like the previous album's "To Be Continued" track slightly better.

Universal Satan has surpassed the previous trilogy of Turmion Katilot albums and is their best album since Hoitovirhe. This highly recommendable offering would certainly make it close to the top in my best metal albums of 2018. Whether buying or downloading, you just gotta get it!

Favorites: "Sikiö", "Love is Dead", "Helvetin torvet", "Suurempi voima", "Saatanan siunaama", "To Be Continued 4 Je T'aime"

Turmion Katilot is still on an ongoing journey with their Finnish industrial metal sound. They started off gloriously with their debut Hoitovirhe and since went on a steady path to keep their greatness going, with the only slight drop in quality being their 4th album Perstechnique. But now it sounds like the band is slowly building back up to the perfection of Hoitovirhe, and this album Dance Panique is get real close!

Finding out info about different bands and albums used to be difficult, but thanks to YouTube and the evolution of the internet, practically everything about them is provided right where anyone can access. 2017 barely arrived when the band already released two singles, one of which ("Itämaan Tietäjä" (Knowledge of the East)) is only a separate single. Dance Panique was released in March, after a one-month delay due to MC Raaka Pee getting sick. Another amazing album! After the electro-dance-y Technodiktator and Diskovibrator, Dance Panique brings back a lot of the earlier metal heaviness, enough to be the missing link between Hoitovirhe and Pirun Nyrkki.

The title track is so mystical! The electro-dance and industrial metal sides are in a perfect blend. With gravelly vocals and driving rhythms, it's an unforgettable experience. "Veren maku" (The Taste of Blood) starts with some heavy drop-C riffing to remind me of Shadows Fall, but the rest of the song is the usual industrial metal. The one pre-release single that made it to this album, "Surutulitus" (Fireworks) has many great details.

Representing a bit of a downside is "Kyynelten tanssi" (Dance of Tears) which is a little more mediocre but doesn't affect the album's high quality. "Uhriveri" (Sacrificial Blood) may seem like an extreme metal song title, but the actual song is nothing like that. Beautiful melodies make "Vihko" (Booklet) another standout.

"Pienet pirut" (Little Devils) continues the dance-y industrial metal sound similar to Deathstars. "Viha" (Anger) is good in some parts, but a bit monotonous in others. If that song and "Kyynelten tanssi" was given some improvement, this album would've been perfect. "Kuoleman marssi" (Death March) has some more industrial experimentation like Motionless in White at the time. "To Be Continued Act 3" is much better than the first two acts, sounding more like a real song or epic. Nothing bad about that one at all!

Dance Panique can very well surpass Technodiktator while still inches behind the perfect glory of Hoitovirhe, though they would actually get there as we roll into the new decade. This really made the band's mark in industrial metal in 2017. Recommended for all fans of the genre!

Favorites: "Dance Panique", "Surutulitus", "Vihko", "Pienet pirut", "To Be Continued Act 3"

The first 3 Turmion Katilot albums, especially their debut Hoitovirhe, already showed the band's sound soaring sky high. Then a bit of the quality dropped in Perstechnique. And after that, Technodiktator made a promising boost back up to the greatness of their starting trilogy. They've proven that metal and techno synths can fit together like a glove. What can be greater than that?

Well, there were some fans fearing the possibility of the band discarding much of their industrial metal for a more electro-dance sound, since Technodiktator had more electro prominence. But once this album Diskovibrator came out in 2015, there's no longer a reason to worry! Their earlier industrial metal roots are put together with the electro-dance aspects that they've had lately. The album managed to reach the top of the Finnish Charts. They are #1! The strengths of their previous album and Hoitovirhe have stirred up a balanced blend of electro-industrial dance-metal, with each side of the sound deserving its place up front.

Kicking things off with an impressive song is "Kirottujen karnevaalit" (The Carnival of the Damned). "Aina arki" (Always Working) has the usual industrial action to expect from the band. "Hyvissä höyryissä" (Good Buzz) is more emotional and experimental. At times you can hear what sounds like dark rockabilly. The idea of borrowing different styles has worked out much better and spawned another standout.

"Sinä saatana" (You B****rd) turns out to be another pleasant hit. "Ranteet auki" (Slit Wrists) has more atmosphere, though it loses a bit of originality. "Lataa ja varmista" (Lock and Load) is another strong track from this band.

"Hiiltynyt runko" (The Charred Trunk) has some lyrics worth hearing, while shining in the keyboards and synthesized choir. My ultimate favorite in this album is "Vastanaineet" (Just Married). It's filled with steady speed that works well for their sound. "Sinulle" (For You) can be considered a love song, though it's not a ballad. "To Be Continued Act 2" is not as bad as Act 1. It's more bearable throughout its nearly 8-minute length, and it doesn't have 4 minutes of Finnish dialogue. Nonetheless, it's still not the best.

Lumpy parts aside, Diskovibrator is another excellent album. The blend of industrial metal and electro-dance is back to evenness after bringing back a bit of the former. Another superb offering for anyone on the search for dance-y electronics in metal!

Favorites: "Kirottujen karnevaalit", "Hyvissä höyryissä", "Lataa ja varmista", "Hiiltynyt runko", "Vastanaineet"

At this point, Turmion Katilot released 4 albums in which each one reached higher into the Finnish charts while losing a slight bit of appeal. The band was determined to keep climbing up to the charts, but their mission and their career was almost cut short by a near-disaster for one of the band members...

December 2012 may not be the end of the world, but it almost was for vocalist Petja Turunen who suffered a stroke that caused the band to take a break for over a month for MC Raaka Pee to recover from that health-scare. Then they went back onboard to record a new album released later on in 2013. Technodiktator hit #4 in the Finnish charts, but is it worse than Perstechnique? Nope! It is stronger than U.S.C.H!, and having the band's best sound since Hoitovirhe. Not reaching the debut's perfection, but very close.

Opener "Silmät sumeat" (Blurry Eyes) is a great track to start, and it's hard not to see its appeal. "Antaa palaa" (Let It Burn) maintains the intensity while in a slower tempo. With that, there's more emotion with the techno-synth-filled instrumentation. Everything's balanced here, except for the odd usage of saxophone that's not used often and it just comes out of the blue near the end. "Nimi kivessä" (Name Engraved in Stone) once again has what the previous song has but slower. The instrumentation focuses less on the techno-synths that only support the heaviness in the drums and guitars. It's a bit overwhelming, but not shocking.

The track that I consider my favorite here is "Pyhä maa" (Holy Land). This is a fantastic track I would revisit quite often as the techno beats are blended well with some of the heaviest riffing by the band. "Jalopiina" (Noble Torment) is a bit strange. It takes on a more Wild Western vibe in the drums and guitars, and sometimes they would teleport to the Eastern Lands within the instrumentation. If there was a music video for that, it would show the band travelling to different edges of the world. "Elävä koneeksi" (Living into a Machine) shows the band make a perfect tribute to 90s dance, combined with fast relentless metal instrumentation. The beat would sweep you away all over the dance-floor like a moshing tornado.

"Rehtori" (Principal) is where things get even stranger. The speed changes happen in bizarre times, going from fast to slow in no time flat. A bit of a hiccup there but still fine. I would say the same about the lyrics that seem to be about school principals. "золото/Beibe" (Gold/Baby) is one of the best examples of the band's industrial metal here. "To Be Continued Act 1" is a bit confusing. Not just in the name, but it's also the band's longest song. Now I like long epics, but I prefer the edition without the 4 minutes of Finnish dialogue in the middle of the song, and even then, they should've shortened the rest to around a length of 6 minutes.

If we're only counting the first 5 Turmion Katilot albums, Technodiktator would be my second-favorite behind Hoitovirhe. They throw back to the best aspects of the debut while having their heaviest work at that point. This would certainly fit well in both a nightclub and a metal concert, and it's guaranteed that you would move to the music. Keep calm and party on!

Favorites: "Silmät sumeat", "Antaa palaa", "Pyhä maa", "Elävä koneeksi", "золото/Beibe"

Turmion Katilot made it big with their earlier fanbase via their first 3 albums. They mark an amazing start to their journey, with their debut being the best of the trio. Alas, things end up getting a bit bumpy when they reach album #4...

Perstechnique was released in early 2011, and it's tied with their previous album U.S.C.H! as their highest album in the Finnish charts. It's strange how the higher charting the band's earlier albums are, the less appealing it is for me. However, there's nothing totally wrong with Perstechnique, it's better than albums by some bands from the alt-side of metal. I just think there isn't as much impressive fury as in their surrounding albums. My least favorite Turmion Katilot album, but still great.

The opening track "Grand Ball" is my favorite here. While the bizarre lyrics from their previous album return, they sound better and add in a better dose of humor. The theatrical vibes of OOMPH!/Rammstein give "IHMISIXSIXSIX" more life with cyber-powered riffs. "Suolainen kapteeni" (Salty Captain) enhances their industrial metal sound with both the symphonic keys of Alestorm and a bit of the 8-bit synths of Sky Eats Airplane. "Hanska" (Glove) has more brutal heaviness and speed that greatly contrast with retro synths like destruction taking over an 80s movie scene.

"Hellbound Earth" unleashes some more of the dance-y industrial metal like a nightclub in Hell. "Lapset ja vanhemmat" (Children and Parents) has more of the cyber wrath of love and fire. The metal is replaced by pure electro-dance in "Herran toinen tuleminen" (The Second Coming of the Lord) for something more festive.

Having more of the stereotypical catchy industrial metal is "Verta sataa" (Raining Blood) that fuels the cyber sounds of The Kovenant and Deathstars. "Rukoukset rattoisat" (Merry Prayers) has pretty much all of the industrial metal you can already hear in bands like PAIN, In This Moment, Motionless in White, and Circle of Dust. Another awesome highlight! Finally, "Vedetäänkö vai ei?" (Should We, or Not?) is a bit anticlimactic and it indeed makes you wonder if they should stay in their path...or not.

As I've said, there's not much about Perstechnique that's bad, though it still remains my least favorite one by Turmion Katilot. I would recommend it for fans of the band and industrial metal, but no one else....

Favorites: "Grand Ball", "IHMISIXSIXSIX", "Lapset ja vanhemmat", "Verta sataa", "Rukoukset rattoisat"

The first two Turmion Katilot albums brought their sound to great heights, but there ended up being some trouble between the band and Spinefarm Records over the income. The band sued Spinefarm and settled the lawsuit, LEGAL END OF STORY. They were then signed to a different label, Raha Records, to make a free downloadable mini-album U.S.C.H! in 2008. The next year, it was released as a full physical edition adding 3 new tracks, and it overtook Pirun Nyrkki in the Finnish charts by a close second.

U.S.C.H! stands for Ultimate Synthetic Corrosion Helter-Skelter. The album is slightly stronger than Pirun Nyrkki, bringing back a bit of the perfect glory of Hoitovirhe as they continue their industrial metal blend. You can never forget the rhythm! This band can do what other modern industrial metal bands can't.

"Vuosi 2008" (Year 2008) is a weird yet interesting intro, filled with distortion in everything. One other band that can go all out experimental like that is Candiria. Now this might shock some of you, but the title track is my least favorite song here. They seem to go the Bohemian Rhapsody route lyrically with nonsensical words, and it seems odd when this song is filled with bizarre darkness and Rammstein-level weirdness. The greatness of the album starts in "Pakanamaan kartta" (Map of Pagan Land).

"Kuolleitten laulu" (The Song of the Dead) is another spooky interlude. A strange assortment of laughing noises start another brilliant highlight, "Paha musta veri" (Evil Black Blood). "Minä määrään" (I Command) is another excellent song that never disappoints.

"Destination Hades" is the third interlude, though it's more of a short song with some distorted vocals. "Kuoleman päivä" is the greatest highlight in the original edition of the album. The industrial metal sound is rightfully balanced. "Arise" continues the Drop C riffing that almost makes me think of melodic metalcore bands like Miss May I, but the sound is still firmly industrial metal. Their cover of the Kikka hit "Shuttle to Venus" blasts along in catchy fun.

The physical edition's extra tracks start with "Hades" which emphasizes 8-bit-style electro-industrial and traditional Finnish singing in the first half for a jaw-dropping good time. "Alternative Ending for Your U.S.C.H!" is a brief synth interlude, but the full album doesn't end there... My favorite song in the entire full album is the closing "Million Dollar Business". The lyrics target Spinefarm Records with a big "scr*w you" to the business that tried to f*** with their signed band. Proud lyrics and aggressive music show that nothing can go wrong with their fired-up rant.

U.S.C.H! wraps up the band's amazing 2000s streak. Anyone who's a fan of industrial metal has to get the starting trilogy of Turmion Katilot. Whether you wanna download it or buy it, this album is all yours!

Favorites: "Pakanamaan kartta", "Paha musta veri", "Minä määrään", "Kuoleman päivä", "Shuttle to Venus", "Million Dollar Business"

Hoitovirhe marked the perfect start for the journey of a Finnish industrial metal band. It showed the band's sound at a promising height that made fans of the genre up for the action. And more of that action awaits...

Following some touring in support of their debut, in 2005, Turmion Katilot were all set to record another album. And in early 2006 came their second album Pirun Nyrkki (Devil's Fist)! The attitude the band had in their debut has become more aggressive and heavier. They put more emphasis on the METAL in industrial metal, though it ended up causing slight unevenness. Strangely, this album went higher up in the Finnish charts than Hoitovirhe.

First track "Maše veri evakei" (Where the Blood Escapes From) sets the dark tone for the album. However, the horror-filled title track is the first true highlight, combining speed with industrial synths, almost like a blend of Strapping Young Lad and Deathstars. "Messu" (Mass) is one of two interludes here.

It segues to "Eläköön!" (Long Live) with an explosive spark to break the monotony. "Tirehtööri" (Ringmaster) has more of a Middle Eastern vibe. Another one of the best tracks here and something worth playing in a nightclub in the Middle Eastern region. "MTV/DNA" breaks free from the metal heaviness to let the industrial machinery shine, but I'm sure it will still cause some positive feedback if it ends up on MTV. "Härkä" (The Bull) is so short yet unpredictable. It also has some of the fastest sections in the album that practically blast through, all while keeping the techno pace.

"Illuusio musiikista" (Illusion of Music) is another short interlude. Seguing into "Irstauden ilosanoma" (The Gospel of Lubricity), the guest vocals by Jessi Frey of Velcra and the chorus are both actually a bit annoying. Making up for that is "Piiloviestien neitietsivä" (Nancy Drew of Hidden Messages), which is a short yet pleasant return to full form. The remix of "Verta ja lihaa" (Blood and Flesh) is a little pointless, but I guess that remix was done so the album wouldn't be an under-half-hour-EP. The original is still better.

None of the tracks here are bad at all, although a couple tracks near the end threaten to be. Not even the interludes that work well to add atmosphere. Pirun Nyrkki has amazing strength, though it can't beat the perfection of the debut. Once again, the band can get you moving at both a rave and a moshpit!

Favorites: "Pirun nyrkki", "Tirehtööri", "MTV/DNA", "Härkä", "Piiloviestien neitietsivä"