HORNA - Askel lähempänä Saatanaa (2013)

Genre: Raw Black Metal

Label: World Terror Committee

Rating: 7/10

This album is a bit of a departure in some senses for Horna. They use distant sounding mics to record the instruments, and there's a high-pitched whine over everything. Most of all, though, is the new vocallist, Spellgoth. He sounds very different from Corvus, whom I liked, but I have to say I like Spellgoth more. That said, it pains me to say the following.

“Alku” is an instrumental track, consisting of piano and ambient noises. Title track “Askel lähempänä Saatanaa” has a feel befitting its title, which translates to “A Step Closer to Satan.” It is, in its first part, typical Horna, especially in the chorus. The drums pick up following the second verse, and a slightly different section for guitar and bass appears. The lead that follows, at 3:05, in the fourth part, is truly evil in sound. It is a highlight of the album, in my opinion. It comes back at 4:33 and is eventually matched by the drumbeat. It plays for approximately a minute before going back to the simplified version of the verse, and thus ends the song.

“Kunnia herralle, kuninkaalle” has o.k. chord progressiosn and leads. They're sinister sounding, but very stereotypically Horna in sound and structure. That isn't necessarily a bad thing, it's just lacking a... wow factor. The same pretty much goes for “Kuolema kuoleman jälkeen.” The chorus to “Yhdeksäs portti” is perhaps the most compelling part of the album besides the title track. The riff at 1:33 is very welcome to this album, it is dark and original. The second time it occurs, it leads to a decently sombre riff with a great, but simple, lead over it. Track six, “Ei aikaa kyyneleille,” makes it seem like Shatraug came up with a formula for writing Horna songs. The lead that occurs at 1:40, however, is genius. The riff that occurs at 3:15 involves the same lead, and goes on for an extended period. The rhythm and lead that occur at 4:03 are the best on the album without doubt. It is the outro riff.

Track seven, “Kärsimyksin vuoltu hänen valittuna äänenään,” is a track that defies Horna stereotypes. The intro lead is brilliant. After the second playthrough of this lead, it goes into another rather dark lead. The intro is repeated yet again in the later part of the song, which again goes into the subsequent dark lead. “Aamutähden pyhimys” is certainly a number with attitude. Around 4:40 is when it gains its originality; unfortunately, it doesn't go very far before the song ends. Track nine, “Pala tai palvele,” is more standard fare for Horna. 1:36 marks a great lead for the track; wonderfully maleficent. Other than that, it's over as soon as it starts, without leaving impact. Closer “Ota omaksesi, luoksesi,” is one of the mores standout tracks on the album, if for no other reason than the bends on the low string that don't fit Horna's usual repertoire.

Usually, I love everything Horna does. It just does not seem to work this time round. There's nothing new to be offered from this release. The production sounds great, as do the vocals, it's just not up to par musically. The vinyl may be ordered here; for those seeking the CD, a simple search will reveal it.