#turmionkatilot — Public Fediverse posts

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

https://www.europesays.com/fi/133564/ Euroviisuhistoriaa ja suomalaisen metallin juhlaa: nämä albumit täyttävät tänä vuonna 20 vuotta #AmonAmarth #amorphis #CannibalCorpse #CradleOfFilth #diablo #Entertainment #FI #Finland #Finnish #IronMaiden #kalmah #LambOfGod #lordi #MajKarma #mastodon #mokoma #Music #Musiikki #MyChemicalRomance #poisonblack #ruoska #slayer #Stam1na #Suomi #Tarot #teräsbetoni #TurmionKätilöt #viihde

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Enää kaks viikkoa plus yks päivä ja sit #TurmionKätilöt 😎

Pitkästä aikaa keikalle 🤘 ja vieläpä synttäripäivän kunniaksi! Aijaijai, naminami, halihali ja pusipusi 🤌

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https://www.europesays.com/uk/594414/ Master’s Hammer – Maldorör Disco Review #2025 #3.0 #BlackMetal #CzechMetal #DarknessShallRiseProductions #Entertainment #ExperimentalBlackMetal #Heldmaschine #KMFDM #Kraftwerk #MaldorörDisco #Master'sHammer #MortuaryDrape #music #Nov25 #Review #Reviews #Root #TurmionKätilöt #UK #UnitedKingdom

Master’s Hammer – Maldorör Disco Review

Besides a stout back catalog, experimental black metal weirdos Master’s Hammer vaunts an intermittent history both in band…
#NewsBeep #News #Music #2025 #3.0 #BlackMetal #CzechMetal #DarknessShallRiseProductions #Entertainment #experimentalblackmetal #Heldmaschine #KMFDM #Kraftwerk #MaldorörDisco #Master'sHammer #MortuaryDrape #Nov25 #review #Reviews #Root #TurmionKätilöt #UK #UnitedKingdom
https://www.newsbeep.com/uk/282992/

Master’s Hammer – Maldorör Disco Review

By Grin Reaper

Besides a stout back catalog, experimental black metal weirdos Master’s Hammer vaunts an intermittent history both in band activity and AMG coverage. After releasing two largely unsung platters of black metal in the early 90s,1 the band unleashed the terminally forgettable Šlágry and hung up the hammer. In the same year our estimable blog was spawned, Master’s Hammer returned with Mantras, further augmenting their core sound with synth layers and an expanded songwriting tool belt. Before shuttering the project again in 2020, Master’s Hammer earned a glowing review and a similarly positive TYMHM at AMG, while another three albums went untested in our halls. The fires of creation never quelled completely, though, and now the Czech outfit reemerges with Maldorör Disco. Can this hammer still pummel, or should it have remained in Master’s toolbox?

Maldorör Disco marks a departure from Master’s Hammer’s earlier eras, dropping black metal vestiges in favor of a sound more in line with Neue Deutsche Härte and electro-industrial. On the likes of Vracejte Konve Na Místo and Formulæ, synths bolster atmosphere and texture. Here, Master’s Hammer adopts the keyboard as the primary driver of melody, and though Root and Mortuary Drape served as apt reference points on earlier albums, Maldorör Disco merits a new set of comparisons. Hints of Turmion Kätilöt, KMFDM, and Heldmaschine permeate Master’s Hammer’s landscape, but more than any other act, I find Maldorör Disco evokes Kraftwerk. ”Anděl Slizu” and “Bicycle Day” exemplify the electro-pomp that Germany’s finest man-machines defined decades ago. With the hooks predominantly occupying synth-driven territory, other instruments are relegated to supporting roles across Maldorör Disco’s ten concise and lively tunes.

Despite Maldorör Disco’s pivot in musical direction, Master’s Hammer retains much of the talent that supported the success of their second era. The only raw recruit is full-time keyboard player Kamil Princ, a sensible addition given the album’s dedication to synth. Princ crafts tenacious melodies that sink their teeth in and don’t let go, a testament to the memorability of Disco’s schtick. Meanwhile, bandleader, vocalist, and multi-instrumentalist Franta Štorm asserts his uniquely gruff croon and mixes its deployment with other effective stylings ranging between soft cleans (“Anděl Slizu”), backing falsetto injections (“Bicycle Day”), and vocal effects (“El Teide,” “Slatina”). Melded together, these elements fashion a diverse and engaging listen against the synth-laden backdrop. Necrocock (guitars) and Honza Kapák (drums) round out the rest of the band, ably bracing Maldorör Disco’s grooves.2

The revamped, key-centric concept on Maldorör Disco pumps a breath of fresh air from Master’s bellows, although a flaw or two hold the forge fire back from a full-on blaze. The focus on electronic influences adds a new dimension to Master’s Hammer’s sound, and while it works, I lust for more of the oddball shit that made past albums such a blast. The shift in musical approach grabs the limelight, but at the expense of what makes Master’s Hammer so lovably eccentric. Maldorör Disco also stumbles in its adherence to mid-paced tempos. Slower songs don’t pose an inherent problem,3 but restricting song speeds places a heavier burden on songwriting dynamics. Though not a fatal flaw, I wonder what Maldorör Disco might have sounded like with a couple tracks oozing the fury and venom of “Psychoparasit” or the varied velocity on “Zvířecí Zvuky.” Aiding Maldorör Disco are the restrained runtime and improved production, both of which have detracted from previous albums. Forty-two minutes are enough to explore what Master’s Hammer crafts here, and though synths don’t require the dynamic range that denser compositions do, the production is rich enough to highlight when the other instruments break out of the pocket.

After seven dormant years, Maldorör Disco proves Master’s Hammer still strikes with potency. Štorm and the gang might be longer in the tooth, but time hasn’t stripped their ability to pen tunes that stick with you long after Master’s forge has cooled. Nearly forty years since forming, Master’s Hammer bangs out another set of craftsmanlike ditties that’ll keep you whistling while you work. Though I wish Master’s Hammer would have incorporated more of their inimitably kooky antics, I enjoyed my time at the Disco, and assuming electronics aren’t anathema to your metal intake, I recommend giving it a spin or three.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Darkness Shall Rise Productions
Websites: Bandcamp | Facebook
Releases Worldwide: November 26th, 20254

#2025 #30 #blackMetal #czechMetal #darknessShallRiseProductions #experimentalBlackMetal #heldmaschine #kmfdm #kraftwerk #maldororDisco #mastersHammer #mortuaryDrape #nov25 #review #reviews #root #turmionKatilot

Master’s Hammer – Maldorör Disco Review

By Grin Reaper

Besides a stout back catalog, experimental black metal weirdos Master’s Hammer vaunts an intermittent history both in band activity and AMG coverage. After releasing two largely unsung platters of black metal in the early 90s,1 the band unleashed the terminally forgettable Šlágry and hung up the hammer. In the same year our estimable blog was spawned, Master’s Hammer returned with Mantras, further augmenting their core sound with synth layers and an expanded songwriting tool belt. Before shuttering the project again in 2020, Master’s Hammer earned a glowing review and a similarly positive TYMHM at AMG, while another three albums went untested in our halls. The fires of creation never quelled completely, though, and now the Czech outfit reemerges with Maldorör Disco. Can this hammer still pummel, or should it have remained in Master’s toolbox?

Maldorör Disco marks a departure from Master’s Hammer’s earlier eras, dropping black metal vestiges in favor of a sound more in line with Neue Deutsche Härte and electro-industrial. On the likes of Vracejte Konve Na Místo and Formulæ, synths bolster atmosphere and texture. Here, Master’s Hammer adopts the keyboard as the primary driver of melody, and though Root and Mortuary Drape served as apt reference points on earlier albums, Maldorör Disco merits a new set of comparisons. Hints of Turmion Kätilöt, KMFDM, and Heldmaschine permeate Master’s Hammer’s landscape, but more than any other act, I find Maldorör Disco evokes Kraftwerk. ”Anděl Slizu” and “Bicycle Day” exemplify the electro-pomp that Germany’s finest man-machines defined decades ago. With the hooks predominantly occupying synth-driven territory, other instruments are relegated to supporting roles across Maldorör Disco’s ten concise and lively tunes.

Despite Maldorör Disco’s pivot in musical direction, Master’s Hammer retains much of the talent that supported the success of their second era. The only raw recruit is full-time keyboard player Kamil Princ, a sensible addition given the album’s dedication to synth. Princ crafts tenacious melodies that sink their teeth in and don’t let go, a testament to the memorability of Disco’s schtick. Meanwhile, bandleader, vocalist, and multi-instrumentalist Franta Štorm asserts his uniquely gruff croon and mixes its deployment with other effective stylings ranging between soft cleans (“Anděl Slizu”), backing falsetto injections (“Bicycle Day”), and vocal effects (“El Teide,” “Slatina”). Melded together, these elements fashion a diverse and engaging listen against the synth-laden backdrop. Necrocock (guitars) and Honza Kapák (drums) round out the rest of the band, ably bracing Maldorör Disco’s grooves.2

The revamped, key-centric concept on Maldorör Disco pumps a breath of fresh air from Master’s bellows, although a flaw or two hold the forge fire back from a full-on blaze. The focus on electronic influences adds a new dimension to Master’s Hammer’s sound, and while it works, I lust for more of the oddball shit that made past albums such a blast. The shift in musical approach grabs the limelight, but at the expense of what makes Master’s Hammer so lovably eccentric. Maldorör Disco also stumbles in its adherence to mid-paced tempos. Slower songs don’t pose an inherent problem,3 but restricting song speeds places a heavier burden on songwriting dynamics. Though not a fatal flaw, I wonder what Maldorör Disco might have sounded like with a couple tracks oozing the fury and venom of “Psychoparasit” or the varied velocity on “Zvířecí Zvuky.” Aiding Maldorör Disco are the restrained runtime and improved production, both of which have detracted from previous albums. Forty-two minutes are enough to explore what Master’s Hammer crafts here, and though synths don’t require the dynamic range that denser compositions do, the production is rich enough to highlight when the other instruments break out of the pocket.

After seven dormant years, Maldorör Disco proves Master’s Hammer still strikes with potency. Štorm and the gang might be longer in the tooth, but time hasn’t stripped their ability to pen tunes that stick with you long after Master’s forge has cooled. Nearly forty years since forming, Master’s Hammer bangs out another set of craftsmanlike ditties that’ll keep you whistling while you work. Though I wish Master’s Hammer would have incorporated more of their inimitably kooky antics, I enjoyed my time at the Disco, and assuming electronics aren’t anathema to your metal intake, I recommend giving it a spin or three.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Darkness Shall Rise Productions
Websites: Bandcamp | Facebook
Releases Worldwide: November 26th, 20254

#2025 #30 #blackMetal #czechMetal #darknessShallRiseProductions #experimentalBlackMetal #heldmaschine #kmfdm #kraftwerk #maldororDisco #mastersHammer #mortuaryDrape #nov25 #review #reviews #root #turmionKatilot

Master’s Hammer – Maldorör Disco Review

By Grin Reaper

Besides a stout back catalog, experimental black metal weirdos Master’s Hammer vaunts an intermittent history both in band activity and AMG coverage. After releasing two largely unsung platters of black metal in the early 90s,1 the band unleashed the terminally forgettable Šlágry and hung up the hammer. In the same year our estimable blog was spawned, Master’s Hammer returned with Mantras, further augmenting their core sound with synth layers and an expanded songwriting tool belt. Before shuttering the project again in 2020, Master’s Hammer earned a glowing review and a similarly positive TYMHM at AMG, while another three albums went untested in our halls. The fires of creation never quelled completely, though, and now the Czech outfit reemerges with Maldorör Disco. Can this hammer still pummel, or should it have remained in Master’s toolbox?

Maldorör Disco marks a departure from Master’s Hammer’s earlier eras, dropping black metal vestiges in favor of a sound more in line with Neue Deutsche Härte and electro-industrial. On the likes of Vracejte Konve Na Místo and Formulæ, synths bolster atmosphere and texture. Here, Master’s Hammer adopts the keyboard as the primary driver of melody, and though Root and Mortuary Drape served as apt reference points on earlier albums, Maldorör Disco merits a new set of comparisons. Hints of Turmion Kätilöt, KMFDM, and Heldmaschine permeate Master’s Hammer’s landscape, but more than any other act, I find Maldorör Disco evokes Kraftwerk. ”Anděl Slizu” and “Bicycle Day” exemplify the electro-pomp that Germany’s finest man-machines defined decades ago. With the hooks predominantly occupying synth-driven territory, other instruments are relegated to supporting roles across Maldorör Disco’s ten concise and lively tunes.

Despite Maldorör Disco’s pivot in musical direction, Master’s Hammer retains much of the talent that supported the success of their second era. The only raw recruit is full-time keyboard player Kamil Princ, a sensible addition given the album’s dedication to synth. Princ crafts tenacious melodies that sink their teeth in and don’t let go, a testament to the memorability of Disco’s schtick. Meanwhile, bandleader, vocalist, and multi-instrumentalist Franta Štorm asserts his uniquely gruff croon and mixes its deployment with other effective stylings ranging between soft cleans (“Anděl Slizu”), backing falsetto injections (“Bicycle Day”), and vocal effects (“El Teide,” “Slatina”). Melded together, these elements fashion a diverse and engaging listen against the synth-laden backdrop. Necrocock (guitars) and Honza Kapák (drums) round out the rest of the band, ably bracing Maldorör Disco’s grooves.2

The revamped, key-centric concept on Maldorör Disco pumps a breath of fresh air from Master’s bellows, although a flaw or two hold the forge fire back from a full-on blaze. The focus on electronic influences adds a new dimension to Master’s Hammer’s sound, and while it works, I lust for more of the oddball shit that made past albums such a blast. The shift in musical approach grabs the limelight, but at the expense of what makes Master’s Hammer so lovably eccentric. Maldorör Disco also stumbles in its adherence to mid-paced tempos. Slower songs don’t pose an inherent problem,3 but restricting song speeds places a heavier burden on songwriting dynamics. Though not a fatal flaw, I wonder what Maldorör Disco might have sounded like with a couple tracks oozing the fury and venom of “Psychoparasit” or the varied velocity on “Zvířecí Zvuky.” Aiding Maldorör Disco are the restrained runtime and improved production, both of which have detracted from previous albums. Forty-two minutes are enough to explore what Master’s Hammer crafts here, and though synths don’t require the dynamic range that denser compositions do, the production is rich enough to highlight when the other instruments break out of the pocket.

After seven dormant years, Maldorör Disco proves Master’s Hammer still strikes with potency. Štorm and the gang might be longer in the tooth, but time hasn’t stripped their ability to pen tunes that stick with you long after Master’s forge has cooled. Nearly forty years since forming, Master’s Hammer bangs out another set of craftsmanlike ditties that’ll keep you whistling while you work. Though I wish Master’s Hammer would have incorporated more of their inimitably kooky antics, I enjoyed my time at the Disco, and assuming electronics aren’t anathema to your metal intake, I recommend giving it a spin or three.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Darkness Shall Rise Productions
Websites: Bandcamp | Facebook
Releases Worldwide: November 26th, 20254

#2025 #30 #blackMetal #czechMetal #darknessShallRiseProductions #experimentalBlackMetal #heldmaschine #kmfdm #kraftwerk #maldororDisco #mastersHammer #mortuaryDrape #nov25 #review #reviews #root #turmionKatilot

Master’s Hammer – Maldorör Disco Review

By Grin Reaper

Besides a stout back catalog, experimental black metal weirdos Master’s Hammer vaunts an intermittent history both in band activity and AMG coverage. After releasing two largely unsung platters of black metal in the early 90s,1 the band unleashed the terminally forgettable Šlágry and hung up the hammer. In the same year our estimable blog was spawned, Master’s Hammer returned with Mantras, further augmenting their core sound with synth layers and an expanded songwriting tool belt. Before shuttering the project again in 2020, Master’s Hammer earned a glowing review and a similarly positive TYMHM at AMG, while another three albums went untested in our halls. The fires of creation never quelled completely, though, and now the Czech outfit reemerges with Maldorör Disco. Can this hammer still pummel, or should it have remained in Master’s toolbox?

Maldorör Disco marks a departure from Master’s Hammer’s earlier eras, dropping black metal vestiges in favor of a sound more in line with Neue Deutsche Härte and electro-industrial. On the likes of Vracejte Konve Na Místo and Formulæ, synths bolster atmosphere and texture. Here, Master’s Hammer adopts the keyboard as the primary driver of melody, and though Root and Mortuary Drape served as apt reference points on earlier albums, Maldorör Disco merits a new set of comparisons. Hints of Turmion Kätilöt, KMFDM, and Heldmaschine permeate Master’s Hammer’s landscape, but more than any other act, I find Maldorör Disco evokes Kraftwerk. ”Anděl Slizu” and “Bicycle Day” exemplify the electro-pomp that Germany’s finest man-machines defined decades ago. With the hooks predominantly occupying synth-driven territory, other instruments are relegated to supporting roles across Maldorör Disco’s ten concise and lively tunes.

Despite Maldorör Disco’s pivot in musical direction, Master’s Hammer retains much of the talent that supported the success of their second era. The only raw recruit is full-time keyboard player Kamil Princ, a sensible addition given the album’s dedication to synth. Princ crafts tenacious melodies that sink their teeth in and don’t let go, a testament to the memorability of Disco’s schtick. Meanwhile, bandleader, vocalist, and multi-instrumentalist Franta Štorm asserts his uniquely gruff croon and mixes its deployment with other effective stylings ranging between soft cleans (“Anděl Slizu”), backing falsetto injections (“Bicycle Day”), and vocal effects (“El Teide,” “Slatina”). Melded together, these elements fashion a diverse and engaging listen against the synth-laden backdrop. Necrocock (guitars) and Honza Kapák (drums) round out the rest of the band, ably bracing Maldorör Disco’s grooves.2

The revamped, key-centric concept on Maldorör Disco pumps a breath of fresh air from Master’s bellows, although a flaw or two hold the forge fire back from a full-on blaze. The focus on electronic influences adds a new dimension to Master’s Hammer’s sound, and while it works, I lust for more of the oddball shit that made past albums such a blast. The shift in musical approach grabs the limelight, but at the expense of what makes Master’s Hammer so lovably eccentric. Maldorör Disco also stumbles in its adherence to mid-paced tempos. Slower songs don’t pose an inherent problem,3 but restricting song speeds places a heavier burden on songwriting dynamics. Though not a fatal flaw, I wonder what Maldorör Disco might have sounded like with a couple tracks oozing the fury and venom of “Psychoparasit” or the varied velocity on “Zvířecí Zvuky.” Aiding Maldorör Disco are the restrained runtime and improved production, both of which have detracted from previous albums. Forty-two minutes are enough to explore what Master’s Hammer crafts here, and though synths don’t require the dynamic range that denser compositions do, the production is rich enough to highlight when the other instruments break out of the pocket.

After seven dormant years, Maldorör Disco proves Master’s Hammer still strikes with potency. Štorm and the gang might be longer in the tooth, but time hasn’t stripped their ability to pen tunes that stick with you long after Master’s forge has cooled. Nearly forty years since forming, Master’s Hammer bangs out another set of craftsmanlike ditties that’ll keep you whistling while you work. Though I wish Master’s Hammer would have incorporated more of their inimitably kooky antics, I enjoyed my time at the Disco, and assuming electronics aren’t anathema to your metal intake, I recommend giving it a spin or three.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Darkness Shall Rise Productions
Websites: Bandcamp | Facebook
Releases Worldwide: November 26th, 20254

#2025 #30 #blackMetal #czechMetal #darknessShallRiseProductions #experimentalBlackMetal #heldmaschine #kmfdm #kraftwerk #maldororDisco #mastersHammer #mortuaryDrape #nov25 #review #reviews #root #turmionKatilot

Master’s Hammer – Maldorör Disco Review

By Grin Reaper

Besides a stout back catalog, experimental black metal weirdos Master’s Hammer vaunts an intermittent history both in band activity and AMG coverage. After releasing two largely unsung platters of black metal in the early 90s,1 the band unleashed the terminally forgettable Šlágry and hung up the hammer. In the same year our estimable blog was spawned, Master’s Hammer returned with Mantras, further augmenting their core sound with synth layers and an expanded songwriting tool belt. Before shuttering the project again in 2020, Master’s Hammer earned a glowing review and a similarly positive TYMHM at AMG, while another three albums went untested in our halls. The fires of creation never quelled completely, though, and now the Czech outfit reemerges with Maldorör Disco. Can this hammer still pummel, or should it have remained in Master’s toolbox?

Maldorör Disco marks a departure from Master’s Hammer’s earlier eras, dropping black metal vestiges in favor of a sound more in line with Neue Deutsche Härte and electro-industrial. On the likes of Vracejte Konve Na Místo and Formulæ, synths bolster atmosphere and texture. Here, Master’s Hammer adopts the keyboard as the primary driver of melody, and though Root and Mortuary Drape served as apt reference points on earlier albums, Maldorör Disco merits a new set of comparisons. Hints of Turmion Kätilöt, KMFDM, and Heldmaschine permeate Master’s Hammer’s landscape, but more than any other act, I find Maldorör Disco evokes Kraftwerk. ”Anděl Slizu” and “Bicycle Day” exemplify the electro-pomp that Germany’s finest man-machines defined decades ago. With the hooks predominantly occupying synth-driven territory, other instruments are relegated to supporting roles across Maldorör Disco’s ten concise and lively tunes.

Despite Maldorör Disco’s pivot in musical direction, Master’s Hammer retains much of the talent that supported the success of their second era. The only raw recruit is full-time keyboard player Kamil Princ, a sensible addition given the album’s dedication to synth. Princ crafts tenacious melodies that sink their teeth in and don’t let go, a testament to the memorability of Disco’s schtick. Meanwhile, bandleader, vocalist, and multi-instrumentalist Franta Štorm asserts his uniquely gruff croon and mixes its deployment with other effective stylings ranging between soft cleans (“Anděl Slizu”), backing falsetto injections (“Bicycle Day”), and vocal effects (“El Teide,” “Slatina”). Melded together, these elements fashion a diverse and engaging listen against the synth-laden backdrop. Necrocock (guitars) and Honza Kapák (drums) round out the rest of the band, ably bracing Maldorör Disco’s grooves.2

The revamped, key-centric concept on Maldorör Disco pumps a breath of fresh air from Master’s bellows, although a flaw or two hold the forge fire back from a full-on blaze. The focus on electronic influences adds a new dimension to Master’s Hammer’s sound, and while it works, I lust for more of the oddball shit that made past albums such a blast. The shift in musical approach grabs the limelight, but at the expense of what makes Master’s Hammer so lovably eccentric. Maldorör Disco also stumbles in its adherence to mid-paced tempos. Slower songs don’t pose an inherent problem,3 but restricting song speeds places a heavier burden on songwriting dynamics. Though not a fatal flaw, I wonder what Maldorör Disco might have sounded like with a couple tracks oozing the fury and venom of “Psychoparasit” or the varied velocity on “Zvířecí Zvuky.” Aiding Maldorör Disco are the restrained runtime and improved production, both of which have detracted from previous albums. Forty-two minutes are enough to explore what Master’s Hammer crafts here, and though synths don’t require the dynamic range that denser compositions do, the production is rich enough to highlight when the other instruments break out of the pocket.

After seven dormant years, Maldorör Disco proves Master’s Hammer still strikes with potency. Štorm and the gang might be longer in the tooth, but time hasn’t stripped their ability to pen tunes that stick with you long after Master’s forge has cooled. Nearly forty years since forming, Master’s Hammer bangs out another set of craftsmanlike ditties that’ll keep you whistling while you work. Though I wish Master’s Hammer would have incorporated more of their inimitably kooky antics, I enjoyed my time at the Disco, and assuming electronics aren’t anathema to your metal intake, I recommend giving it a spin or three.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Darkness Shall Rise Productions
Websites: Bandcamp | Facebook
Releases Worldwide: November 26th, 20254

#2025 #30 #blackMetal #czechMetal #darknessShallRiseProductions #experimentalBlackMetal #heldmaschine #kmfdm #kraftwerk #maldororDisco #mastersHammer #mortuaryDrape #nov25 #review #reviews #root #turmionKatilot

:megaphone: DEMNÄCHST!
*Zusammenfassung 10.01. bis 10.02. für Berlin

Hammerhead
10.01.2025 Berlin / Lido

A Ghost in Rags
11.01.2025 Potsdam / Archiv

Ocean
11.01.2025 Berlin / FRANNZ Club

Rotten And Poor Stage Kill
11.01.2025 Berlin

The Ocean
11.01.2025 Berlin / Kesselhaus

Weite
11.01.2025 Berlin / Neue Zukunft
14.01.2025 Potsdam / Archiv

Alestorm
12.01.2025 Berlin / Huxleys

Ola Englund
12.01.2025 Berlin

The Haunted
12.01.2025 Berlin

Slowkiss
14.01.2025 Berlin / Schokoladen

Turmion Kätilöt
15.01.2025 Berlin / Badehaus

Might
16.01.2025 Berlin / Cassiopeia

#AGhostInRags #Alestorm #Archiv #Badehaus #Berlin #Cassiopeia #FRANNZClub #Hammerhead #Hole44 #Huxleys #Kesselhaus #Lido #Might #NeueZukunft #Ocean #OlaEngl #Potsdam #RottenAndPoorStageKill #Schokoladen #Siamese #Slowkiss #TheHaunted #TheOcean #TurmionKatilot #Weite #SteelFeed #SteelFeedSoon

Northern Genocide – The Point of No Return Review

By GardensTale

Just like a sommelier can (allegedly) sense and describe the minutest differences between wines that may seem identical to the less learned, so can the seasoned metalhead identify regional differences and genre influences that laypersons may question with the tried and true adage: “It’s all just noise, isn’t it?” Melodic death metal has many offshoots and flavors, but the Finnish variety tends to be instantly recognizable anyway, often thanks to a melodic core that draws from neoclassical- and power metal. Northern Genocide wears this hat with pride but then proceeds to layer a bunch of other hats on top until defenestrated by the owner of the hatshop. This has led to two things in the past: I reviewed the previous album Genesis vol. 666 as an industrial metal album, and I was downright impressed by how well the band pulled off a whole stack of hats. Can this feat be repeated?

Absolutely! The Point of No Return skews a little more melodic death metal than its predecessor, but still draws from the industrial pit with gusto, and dots the landscape with symphonic-inspired stubs to boot. To sketch with band names, it most resembles an amalgamation of Noumena, early Kalmah and Turmion Kätilöt with a theatrical streak and an IV full of caffeine. Though never going into hyperspeed, it’s got a ton of energy and drive, and the songwriting is incredibly lean. I’d barely be able to scrape a minute of fat off the 41 minutes of music. Northern Genocide seems to be deathly allergic to boredom, and ensures there is always something going on and grabbing your attention. Instead of beauty and the beast vocals, we have beauty, the beast, the lion, the witch, and the wardrobe all jumping in, with a solid growl and a raw blackened snarl the two main characters. Rapid riffs and sweeping licks bounce back and forth, with slick synths either embellishing or outstripping both.

This may sound like pandemonium, and if you’re not a little inclined to such a hyperactive approach it may get overwhelming at times, but this chaos is calculated. The rhythm section is kept more straightforward, and there is always one leading melody to ride, even when this baton is passed between different vocals and instruments every other bar. And the band refuses to let that variety do all of the heavy lifting: even brief bridges are incredibly infectious, laden with addictive hooks and interesting interplay. With this many tools at its disposal, Northern Genocide makes every track different and rewarding, from the bite-sized epic “Harbingers of Genocide” and the swift assault of “Icaros” to the anthemic “Para Bellum” and Egyptian melodies rendered in synths of “The Engram.”

The only track I don’t love is “My Fortress.” On the one hand, with the relatively dense layering and energetic pacing of the other tracks, a mid-paced centerpiece makes for a nice breather. But it doesn’t engage the way the rest of the album does, particularly the plodding chorus, and instead kills the momentum quite abruptly. The female vocals remind pleasantly of Anneke van Giersbergen (The Gathering et al) but aren’t quite at that spellbinding level, and they can’t compensate for the lackluster riffs. In addition, though the production is good, it’s a step down from Genesis. It is not as warm and rich as before, though the mixing is as solid as can be with this much going on, and the master is not so loud as to make a spin needlessly tiring.

What The Point of No Return boils down to is that intangible, unquantifiable term: FUN. It is a wicked, wild, joyous ride, full of excess and abandon, where everything goes all-in but the musicianship and songwriting are so good it all gets wrangled into a form that’s easy to digest but leaves a lot of details to appreciate on return spins. It’s difficult to suppress a grin when the beat drops or a particularly characteristic vocal flourish comes along, so I recommend: forget the suppression and let that smile split your face. Northern Genocide are getting damn close to list-worthy greatness here, and I can’t wait for more of their infectious exuberance.1

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Inverse Records
Websites: northerngenocide.bandcamp.com | facebook.com/northerngenocide
Releases Worldwide: March 1st, 2024

#2024 #35 #FinnishMetal #IndustrialMetal #InverseRecords #Kalmah #Mar24 #MelodicDeathMetal #NorthernGenocide #Noumena #Review #Reviews #SymphonicMetal #TheGathering #ThePointOfNoReturn #TurmionKätilöt

Some of my favourite #bands #music

#LinkinPark
#Amorphis
#Slipknot
#SonataArctica
#Stam1na
#Amaranthe
#SuperJunior
#SHINee
#Blackpink
#Bigbang
#EXO
#Apocalyptica
#Disturbed
#Sentenced
#DollyParton
#LadyGaga
#TurmionKätilöt
#Pink
#Nirvana

Aina välillä pääsee nää "Tää on sun juttu" -miksit yllättämään. 😆

Katoin, että nyt on ihan kivaa settiä, olis tarjolla #TurmionKätilöt, #Mokoma, #Huora, #Diablo - muun muassa.

Ei muuta kun soimaan ja rokk en roll!

*hetken päästä*

TÄSSÄ SULLE SAMULI EDELMANIA! JJJJEESSSS!

😨