Sulje Silmäsi Maailmalta by Alfa Pentatonik

 

Sulje Silmäsi Maailmalta, by Finnish Industrial Metal band Alfa Pentatonik, feels like a warning siren for a world collapsing under its own greed.  Its title, urging the listener to close their eyes to the world, lands with bitter irony.  This is especially true as the chorus hammers home the idea that unchecked greed is tearing everything apart. 

Musically the track blends throbbing industrial pulses with melodic undercurrents, riff driven guitars and a relentless mechanical beat that feels like the heartbeat of a dying city. 

The duelling vocals, one raspy and melodic, the other deep and growling, mirror the tension between apathy and outrage.  The accompanying black and white video made by JP Immonen is almost Lynchian in its surreal dread and shows people almost numbed to the horrors unfolding around them. 

It’s a bleak, compelling piece that is uncomfortably confronting but worth hearing for the way it turns that discomfort into something strangely captivating.

Video Made by: JP Immonen

Alfa Pentatonik 2026

JP Immonen: bass, guitars, synths, composition & arrangement.

Janne Partanen: vocals, lyrics & arrangement.

Sami Lindqvist: lead guitar & backing vocals.

Mika Nikula: drums.

Artwork: JP Immonen & Janne Partanen.

Samples: Yle Areena.

Links:

Facebook : https://www.facebook.com/share/14WfgGGcEKo/?mibextid=wwXIfr

Verilehto’s Aarnihauta

 

On their second album release, the Finnish melodic black metal band, Verilehto steps deeper into the shadows of their homeland’s folklore, crafting an album whose title  Aarnihauta feels less like a metaphor and more like a destination. 

The album opens with the track Surutta Tapettu, which starts with the soft whisper of wind, the crackle of a distant fire, and the haunting hoot of an owl.  The fragile calm is shattered in an instant as the music erupts.  The guitars carve out melodic yet aggressive patterns, while the vocals burst in like a wild, feral scream that is raw, unrestrained and mirrors something ancient, violent and alive.

Nälänhätä, the second track, emerges slowly, carried by heavy, elongated chords that hang in the air.  A steady, rising cymbal builds toward a quiet tension, drawing the listener deeper into the album’s shadowed world.  Beneath this slow burn, a twisting beat begins to coil and shift, giving the song an uneasy pulse.  When the vocals enter, they’re dark and guttural as well as taunting, almost enticing as if something ancient is calling. 

The third and title track of the album Aarnihauta unfolds like a clash of two melodies twisting around each other, duelling in a way that feels slightly out of sync yet strangely intentional.  Their tension creates a haunting pull, as if the song is being torn different ways.  The vocals rise from beneath this tangle in deep, raspy waves, carrying an imploring edge that feels almost desperate.

Kalman Sotajuokko, the fourth track on the album, opens with demented, spiraling drums that drive the song forward with a feverish pulse.  Screeching guitars slice through the chaos, their tone sharp and icy, while the riffs themselves are surprisingly intricate.  The vocals strike in deep, staccato growls, each one landing like a blow.

The fifth track, Tuhkaverho, drives forward on a heavy, syncopated rhythm that feels both forceful and hypnotic.  The guitars lock into a tight, pulsing groove while the drums carve out a pattern that keeps shifting just enough to stay unpredictable.  Two distinct vocal styles collide, one a deep, feral growl, the other a raspier, more melodic snarl.  Their duelling presence creates a tension that feels almost ritualistic.  

Syöjätär, the sixth track on the album, has frenzied drums that feel completely unrestrained, hammering forward.  The rhythm never settles, constantly shifting and surging.  Beneath this curated chaos, the vocals rise in dark, guttural waves.

The final track on the album is Virvatulet and it opens with enticing guitars that feel like they’re luring you deeper one final time.  Beneath them, the drums pulse with a throbbing, insistent rhythm, while the cymbals rise in shimmering crescendos that keep tightening the tension.  The instruments seem to battle and intertwine, ebbing and flowing.  Over this swirling and chaotic backdrop, the vocals take on a grisly yet surprisingly melodic edge.

This second album by Verilehto feels like a journey deep into the myth soaked forests of Finland.  The album is melodic, raw, and steeped in the eerie spirit of 90s black metal.  Every track carries its own blend of aggression and atmosphere, weaving together folklore, haunting melodies, and feral energy into something both chilling and beautiful.

 If you’re drawn to black metal that balances melody with menace, or if you simply want to lose yourself in a world of dark folklore and icy riffs, this album is absolutely worth stepping into. 

Links : YouTube : https://youtu.be/9Nv0osRDyyg?si=kU18FZuq3lvcw7Bw

Line-up: 

Janne Tuikkala - Guitar, Drums, Synths, songwriting

Janne Partanen - Vocals, lyrics 

Markus Räipiö - Bass & backing vocals

Album artwork was made by talented Awinita Alm and single artworks made by the band.  "Aarinahauta" video was filmed in 2024 and edited by Janne Tuikkala & Markus Räipiö.  Lyrics video by Janne Partanen.

Hiraeth by Inner Missing

 

“Hiraeth is an untranslatable Welsh word which is used to describe a very personal and specific mixture of homesickness, nostalgia and wistfulness. Like any other complex emotion, it is ineffable, but those who have already experienced it, will easily catch its glimpse in the eyes of the others because it is universal as well. For more than a year it seemed unthinkable for me to create anything, and then this song was composed, written and recorded in a matter of days – and, paradoxically, it does not only depict the irreversible loss of my home and many things that were dear to me, but also confirms verity of the statement: no matter how rotten and dominated by philistine cowardice and dictatorial madness the world is, art, like a sprout, will eventually make its way through the layers of mud, into the light.”

 

Inner Missing 

 

 

Hiraeth, a Welsh word for the deep and untranslatable yearning for a place that no longer exists is the title of the new track by Goth Doom Metal band Inner Missing.  Delving into the intricate depths of longing and nostalgia, Inner Missing’s “Hiraeth” is a melancholic and captivating journey with haunting vocals and dark symphonic melodies. Transmuting raw emotions into musical artistry the track is a beautiful fusion of gloom and the exploration of desire that resonates in the deepest corners of the soul.

 

Making the track even more poignant is the bands personal journey of having to leave their war torn home and create a new life in a foreign place.  “Hiraeth” is a testament to the talent and perseverance of Inner Missing, illustrating that against all odds and obstacles, through despondency and darkness, their true gifts shines through.

Links : 

Bandcamp: https://innermissing.bandcamp.com/

Spotify : https://open.spotify.com/track/6UvucdWIDSdnFQ5G8lm5ul?si=HQ6ThGfxSzeedDnnoP6I5Q&pi=tCwNPOCsQemv

Out of Nowhere

 

                                                         Photo courtesy of Facebook

With a name based on the bands belief that borders cause separation and that they as humans do not belong to any particular land, Out of Nowhere is  an Iranian Djent and Metalcore band.  Emerging in 2010 from the Iranian Metal scene where metal music was made illegal by the regime of the Islamic Republic of Iran, Out of  Nowhere has the common goal, according to band members  “ to spread our voices to the whole world and share our thoughts and feeling.”  After the release of their first album they did some cover songs in their unique style.  In 2019 the band released the EP 2031 which saw a shift in the band’s sound towards a more Djent Progressive style.  Out of Nowhere became part of a documentary discussing the dangers and difficulties faced by musicians in the Iranian culture.  In 2021 with the release of “Blind Crow” the band started to explore Deathcore.  With the release of their latest song “Wrong Generation” Out of Nowhere voice their support of Iranian women who have no voice in the current regime. 

 

Out of Nowhere endeavours to make their sound unique by using elements from their culture and important to them in their music. The band’s music explores humans and modern human life as well as events that occur due to technology and science.   Out of Nowhere believe “in our opinion, man and the inner world of man have not yet been properly discovered, and every day we face new issues of human behavior, human personality and even new mental illnesses due to modern life.”

 

Acknowledging the importance of aesthetic to a band, Out of Nowhere  are heavily involved in the artwork for the band and have successfully found the right artists to work with them and enhance the bands message.

 

“Live performance is always a turning point and exciting for a band” according to Out of Nowhere. The band believes that through live performances they are able to share the ideas they have created in isolation with fans face to face and enjoy the positive connections that the music makes. 

 

For the future Out of Nowhere hopes to share their music with an ever increasing audience as well as to create music continuously. For someone unfamiliar with their music the band says “if you feel lost and misunderstood, you are not alone.  At this stage we are trying our best to get closer to each other with our music and help each other.”

Links :

Webpage : https://outofnowhereofficial.com/ 

Facebook: https://www.facebook.com/outofnowhere.irband

Instagram : https://instagram.com/out_of_nowhere_official?igshid=YmMyMTA2M2Y=

YouTube : https://youtube.com/@OutOfNowhereBand

 

 

Clockwork Echo

 

 

 

The band Clockwork Echo wants listeners too attribute whatever meaning they choose to the band‘s name.  According to band member Gabriel Ryan “the name is completely meaningless and a blank canvas for you to ascribe your own symbolism to.“ 

  

Ryan’s parents introduced him to the Beatles when he was five years old and so started his need to create music of his own.  Exploring themes of individualism, humanism, on occasion political commentary and even satire Ryan uses his music to explore issues that are important to him.  Citing influences such as first and second wave aggrotech bands like Hocico, C-Lekktor, Alien Vampires, Noisuf-X, Combichrist, Icon of Coil and Sucide Commando, Ryan’s music in this vein is fairly new and this has had an influence on the band’s sound.  

 

Describing the creation of music as a compulsion Ryan admits that he makes “music because it’s fun and because it feels good“.  Ryan says he cannot keep himself away from the production process.  He believes that the compulsion to make music exists independently from the fact that “any form of art will reflect the mindset and emotional state of the artist during the time it was created.“

 

Ryan describes Clockwork Echo as a Metal band that utilizes synthesizers instead of guitars and rather than using kick drum lines characteristic of Metal they instead favour the four-on-the-floor kick drums commonly heard in Industrial Metal.  For this reason he believes that the band is perhaps more Metal then Industrial despite being described as an Inductrial band.  “Clockwork Echo is what happens when a Metal guitarist tries to write electronic music and ends up falling back on tried and tested song arrangements from Death Metal, then running with it when he realizes that this is the formula that seems to work“ explains Ryan

 

Ryan is very involved with the aesthetic and style of the band.  “I am pretty heavily involved from a conceptual point of view.“ After finding a visual artist he trusts Ryan works closely with them to develop what he describes as “the conceptual backbone of the cover art.“  He then steps back allowing the artist to create. “I’m pretty hands off once we are past the conceptual stage.“ 

 

When describing the creative process Ryan reveals

“I’ve got a psychopathic death ray sitting in my garage that I like to use.  I’ll fire it up and point it at a jar of amphetamines with freshly squeezed lizards and record the results with a multitrack sampler.“   Ryan then says that he adds a bunch of distortion and punchy sounding drums, yelling into the mic until he has vocals he is happy with.

 

Literature and films have an influence on the bands lyrical content and visual themes.  The song “Apologist“ by the band features a quote from Beowulf while the entire album has sprinklings of medieval poetry.  

 

Ryan describes performing live as “a massive adrenlin rush“.  He admits to loving the connection with a live audience and trying to “make them go nuts!“. With ambitions to be the most “in your face“ band of their genre Clockwork Echo’s future plans involve the band being louder, more aggressive and faster.  

Ryan says he doesn’t really care if people listen to his music but he acknowledges that if a listener is already into extreme music “they’ll probably enjoy it.“

Links:

Facebook : https://www.facebook.com/clockworkecho

Instagram : https://www.instagram.com/officialclockworkecho/

Bandcamp: https://clockworkecho.bandcamp.com/. 

Industry of Doom

  

 

With a name inspired by societies love for nihilism and what band member Gentleman Vox describes as the American “Culture of Doom” Industry of Doom is a collaboration between US musician Gentleman Vox and KÖSNIK from Bosnia-Herzegovina.  The duo met when Gentleman Vox, a seasoned traveler was in Bosnia. When he met KÖSNIK they discussed philosophy and music, discovering a shared interest in electro, punk, metal and techno music.  Gentleman Vox describes KÖSNIK, a musician who has been recording and playing guitar for some time as “technologically superior” to him but the duo have skills that compliment one another with Gentleman Vox writing the lyrics and providing the vocals and assorted oddities while KÖSNIK is the guitarist and programmer.  Both band members collaborate on the writing of the music  The band name was very much inspired by what Gentleman Vox describes as “an industry of doom, a market for the downfall or death of innocence.”  

 

Industry of Doom’s music is shrouded in doom with a nihilistic aspect running through.  The band’s  music has what Gentleman Vox describes as “an honest and refreshing mirror of true intentions of humanity both socially and politically.”  Not wanting to be pigeonholed into a certain genre, Industry of Doom describe their music as having Industrial Doom and Industrial Rock, with elements of Electro Metal and even Punk.  Gentleman Vox categorizes the bands first four songs as having hints of Punk, Progressive, Art Rock, Industrial and Metal.

 

The creative process for Industry of Doom involves the writing of the lyrics first.  Gentleman Vox says that for the process of songwriting to occur he “completely frees his mind”. In this state he is able to envision the lyrics.  “We have an idea of the aggressive or subtle nature of the lyrics and try to match the feelings of the lyrics” Gentleman Vox explains.  

 

Writing what they want to hear and inspired much more by ideas and anger, the new music by Industry of Doom highlights that “You are not your past! You are not your family!”  The music resonates with the idea that you always have a chance to renew yourself from what the band believes is  “the human debris you once were”.

 

Industry of Doom relish live performances providing their audience with a very large scale show which Gentleman Vox construes as a “sort of passion play that will shock and hopefully make sense once it is over”. The duo choose clothes for their performances that are both ritualistic and provide the then  with some anonymity.  Their music cleverly exploits  a sense of danger that Industry of Doom have always loved in music.

 

With no clear notion of where the bands music is heading Industry of Doom are more interested in what it will naturally evolve into.  “I couldn’t care less if it sounds like metal, industrial or carnival music as long as its good and interesting” says Gentleman Vox.  Although Industry of Doom hopes to tour extensively they do have some visa issues to overcome.  

 

For a new listener to Industry of Doom’s music Gentleman Vox says “ if your interested in aggressive-electro-metal-industrial-doom-punk music then you will love it.  Other than that, anyone who’s a teenage runaway or easily manipulated we’re here for you.” 

 

 

 Links: 

Facebook : https://www.facebook.com/Industry-of-Doom-101363775971758/

YouTube : https://youtu.be/og9--XykvyE

 

 

 

 

 

 

 

 

 

 

 

Dual Analog

“I have my impatience to thank for my music career” according to Chip Roberts member of the band Dual Analog.  Into music from a young age due to films like Detroit Rock City and Wayne’s World, and what Roberts describes as a “ healthy heaping of 80s slasher flicks” he sung in a choir and wanted to form a band so girls would like him.  Deciding to play guitar and getting tired of waiting for his friends to take up an instrument, and after some unsuccessful dealings with flaky singers Roberts decided to not only play guitar but also sing.  Roberts met fellow Dual Analog band member Kurtis Skinner at school.  They grew up together and attended school together from elementary school all the way to college.  In the seventh grade the duo formed a band, had a falling out in high school and eventually got together in college to form Axis of Symmetry, a melodic Death Metal band.  

When they had finished school the duo moved to Seattle and created Perfect Zero a more refined band still playing melodic Death Metal.  After putting out an EP, Roberts and Skinner decided to leave Perfect Zero and write music as a duo that was more keyboard based.  This marked the formation of Dual Analog.  The band name was chosen according to Roberts because “It was simple, easy to remember, could be abbreviated, had an 80s nostalgia flair, and was a video game reference via the dual analog joysticks in the PlayStation controller”.   Also serving as a source of inspiration for the bands name was a recent purchase by Skinner of a Behringer Deepmind as he began a foray into analog synthesis.

Dual Analog explores themes such as feelings of inadequacy, lack of belonging and self doubt while still at times acknowledging  themes of hopefulness through their music.  “If something is absolutely ripping me apart I put it to music and suddenly the pain isn’t there anymore” Roberts explains.  

When describing their music the duo use a term they coined themselves, Turbowave.  Dual Analog’s music is heavy with keyboards, synthesizers and drum machines which makes their music seem like synth wave however they add a unique addition of traditional metal guitars.  Roberts describes their music as “its new wave, but turbo charged with heavy guitars and elements of industrial and world music.”  With both new wave inspired  and hard rock, heavy metal elements their music is “wave” and “turbo’ because its turbo charged.

Being a Buddhist and having an interest in Asian culture, art and architecture as a field of study Roberts says that these influences and interests bleed into Dual Analog’s music but also its aesthetic.  For the bands newest album Roberts did a mock up of the album artwork involving a man looking up at a statue of Guanyin, the Goddess of Mercy and the embodiment of compassion, encircled in a yellow halo.  Although the artist wasn’t able to completely create what Roberts had envisioned , his input resulted in an album cover he likes so much he explains “ I’d love to get it blown up and hang it on my wall”.

The creative process for the band typically starts with an idea that one of them has.  Skinner usually brings a bunch of parts that the duo work together on to structure a song.  Sometimes Skinner will just arrive with a complete song that the duo then edit or rearrange.  Flow and pacing is a big part of the process for Roberts as well as a good groove and chorus.  When the duo have an arrangement they are happy with, Skinner will send stems which consist of bass, drums, keyboards and sound design elements.  Roberts then adds his own drums, and guitars with the addition of the guitars usually being last.  The guitar is a utilitarian addition to composed pieces serving as a texture or to fill sonic space that the synths are not in.  Robert’s songwriting technique is slightly different from Skinners.  “I’ll have a song written from beginning to end” Roberts says.  The duo then combine Roberts guitars and drums with Skinner’s keyboard before Roberts adds the vocals.  Not until the song is structurally satisfying do they actually add the vocals. 

According to Roberts playing to a live audience is “even better then a chocolate bar or an orgasm”. A self confessed class clown growing up Roberts loves the stage where all eyes are upon him.  The band enjoys hearing the power of the live drums, twin guitars, vocals and harmonies as the tracks fire off when performing live.  In the early days of the band Dual Analog relished having fun and playing for people.  Now as they have become more popular they often see people in the crowd singing along with songs that they wrote which is a cathartic experience.  One particular live experience saw Skinner just play one note on a keyboard for a sound check which set the whole crowd screaming in excitement and anticipation. 

The future for Dual Analog involves an expansion of their sonic palette.  The band would like to play “some of our more goths, dancey and even old school hip hop/breakdance flailed tracks” according to Roberts.  They hope to expand the clubs in Seattle they play at as well as perform in Portland.  They have had interest from San Antonio, Salt Lake City, Denver and Vegas.  The band also welcomes fashion and makeup endorsements.  

For anyone not familiar with the music of Dual Analog the band says “if you enjoy the aggression and impact of heavy metal, but also like the pop and danceabilty of 80s music, you’ll like what we are doing.”

Links :

Facebook: https://www.facebook.com/dualanalogband/

Bandcamp : https://dualanalogofficial.bandcamp.com/

OVDETH’s Mortal Burden

“Closest to what we musically are and what OVDETH is all about” is how the Death Metal band describes their latest album, Mortal Burden.  

The first track on the album is “March of the Blind” which begins with enthralling guitar melodies before the song soars accompanied by intense drumming and snarling, ferocious vocals.  The choppy groove and intense music finally builds to an unrelenting crescendo.  

A hypnotic, somnific opening to “The Ancestor” erupts into manic rapid drumbeats and a tortured, menacing, grunting growl of vocals.  This is on occasion alleviated with an unexpected dissonant harmonious voice.  A serenade by a beautiful guitar riff that is overcome by the delirious and aggressive drumbeat, takes the listener to the end of the song.    

“Perished” starts with a thrashing beat and combative, intrusive growls before falling into more melodic mesmerizing vocals.  It’s a powerful song with at times an almost alluring and peaceful ambience. 

With an atmospheric slow tempo build up “Saturn Devoured” devolves into a chaotic unstable music scape with a delicate surprise interlude. An acoustic guitar playing enchanting melodies accompanies slicing, slow growling vocals.  Background purer vocals harmoniously escort the growing crescendo of music.  The final surprise in this musical journey is an exquisite piano ending to the song that graciously lulls the listener. 

This Death Metal album is full of surprising nuances and even if you are new to the genre well worth a listen.

Spotify: Spotify – Mortal Burden

Bandcamp: Music | OVDETH

Apple Music: Apple Music

Deezer: March of the Blind - OvDeth - Deezer

Tidal: Mortal Burden / OvDeth – TIDAL

Check the lyric video to opening track "March of the Blind":(93) OvDeth - March of the Blind (Lyric video) - YouTube

Facebook (10) OVDETH | Facebook

Melancholic Death Metal Band Marraskuun Lapset (November Child)

Finnish Melancholic Death Metal band Marraskuun Lapset (November Child)  comprises of musicians Tero Hautamäki and Janne Partanen.  The duo took inspiration for their band name from the start of the long winter months and the Polar nights that begin in Finland in November.  Hautamäki’s birthday is also in November.   Marras is an old Finnish word for death.  

Having both been involved in the music industry and making music for a long time Partanen and Hautamäki bring different things to Marraskuun Lapset.  Prior to their collaboration Hautamäki was primarily involved in the Punk and Rock music scene while Partanen had already delved into Death Metal and Black Metal.

The duos formation of Marraskuun Lapset was a result of similar attitudes towards music and a eagerness to use their different experiences in the music scene to foster a more melancholic, depressive and heavy type of music.  Marraskuun Lapset has found inspiration from a “darkness of mind” that they say has been motivated by the gloomy winters and what they believe is a Finnish cultural tendency towards sensitivity, depression and a hesitance to have open discussions.  The rich history of Death Metal in Finland had a particular influence on Partanen as a vocalist but for Hautamäki Marraskuun Lapset is his first foray into Death Metal.

“When you get older you contemplate death” according to Marraskuun Lapset and this has influenced the themes that they explore in their music.  With songs written from the heart, Hautamäki and Partanen explore such evocative topics as sickness, divorce, suicide and the mistakes we make in life.  

The talents and ideas of Hautamäki and Partanen permeate all aspects of the group. Having a clear idea of the image they want to foster for Marraskuun Lapset the duo cultivate the aesthetic with care.   Hautamäki is a skilled photographer whose beautiful, dark photographs further enhance the groups concepts of melancholy and forlorness, serving as the artwork for their albums.  

With a debut EP almost ready and an upcoming new music video about to be released Marraskuun Lapset are currently writing news songs.  They have a live crew in rehearsals ready for when they start performing for audiences  

Admitting that “this is not happy music for happy people” and acknowledging “its ok to be sad sometimes”, Marraskuun Lapset encourage anyone unfamiliar with the band to listen to their music with an open mind.  This interesting and unique fusion of Death Metal and Goth Metal is well worth listening to.  The band encourages everyone to also follow them on social media to get the most up to date information on Marraskuun Lapset and all they are up to.

Links:

(1) Marraskuun Lapset | Facebook 

Hautamäki & Partanen (@marraskuun_lapset) • Instagram photos and videos 

Marraskuun Lapset (bandcamp.com)