LORDI: Monstereophonic: Theaterror Vs. Demonarchy (HEAVY METAL): review / opinion to read on Music Waves

By playing with the forces of evil, Lordi almost ended up paying a heavy price. Indeed, the successor of the excellent "Scare Force One" (2014) should have been released in May 2016, but the Finnish monsters had to face a series of setbacks ranging from the death of Mr. Lordi's father to the last-minute withdrawal of Mikko Karmila who was to produce this opus. It is thus with four months of delay that this "Monstereophonic (Theaterror Vs Demonarchy)" finally produced by Nino Laurenne will be released. Result of the last cooperation with the latter, "Deadache" (2008) was probably the weakest opus of the quintet from Rovaniemi. However, the apprehension caused by this observation was quickly swept away by listening to the new bloody offering of the 2006 Eurovision winners.

Indeed, without revolutionising his identity or his music, Lordi is surprising on this "Monstereophonic (Theaterror Vs Demonarchy)" whose two faces are symbolised by the new masks of the band members. The first half of the album is relatively classical with the traditional cinematic introduction and tracks lasting around four minutes. Classical but still as effective with refrains that are still very catchy and a powerful and clear production at the same time. Hella's keyboards once again impose themselves as a formidable weapon. The devilish doll thus draws a haunting ritornello on a 'Let's Go Slaughter He-Man (I Wanne Be The Beast-Man In The Masters Of The Universe)' which has more qualities than just its endless title. She also flirts with a symphonic Nightwish-like approach on 'Down With The Devil', and brings a deliciously retro FM touch to the effective 'None For One'. Amongst all these irresistible nuggets, we'll also keep the heavy and dark 'Mary Is Dead', and above all the real killer 'Hug You Hardcore' with a riff worthy of a chainsaw in action and integrating some light industrial touches.

After this classic and effective side, the Finns surprise their audience with a second part conceived as a concept narrating the war between a vampire, a witch, a zombie and a werewolf to take over a city. There is nothing revolutionary about the concept album in itself, but it represents a real novelty and a risk for Lordi, and moreover, in the form of a half-album. Although launched with a new introduction, like every album in the band's career, this sequel, entitled 'Demonarchy', sees the quintet break away from their usual pattern by stretching the tracks over more than five minutes, varying the tempos and moods, flirting with progressive metal and moving away from their usual straightforward approach. Less immediate, the tracks here deserve to be listened to several times in order to grasp their variations and richness. We discover elements worthy of German heavy-speed with the biting riff of 'Demonarchy', or a 'Heaven Sent Hell On Earth' alternating quiet verses and choruses with a bleeding riff. And The Zombie Says' is theatrical, dark and bewitching, while 'Break Of Dawn' offers a brutality rarely achieved by the combo. Finally, 'The Night The Monsters Died' lasts more than seven minutes, starting like a mid-tempo before throwing out some devastating accelerations.

Between a classical but not sclerotic first part, and a concept integrating just enough progressive elements to be both ambitious and affordable, this opus could turn out to be the peak of Lordi's career. It is now to be hoped that the Finns will manage to maintain this level by keeping this balance with as much subtlety and efficiency. - Official website

LORDI

MONSTEREOPHONIC: THEATERROR VS. DEMONARCHY

AFM RECORDS

HEAVY METAL