LORDI: Deadache (MELODIC METAL): review / opinion to read on Music Waves

Before tackling the composition of their fourth opus, Lordi's members found themselves in a hitherto unknown situation: the pressure of high expectations after the success of "The Arockalypse" and the media exposure generated by their victory in the Eurovision Song Contest 2006. Critics were in the starting blocks to let their bile flow, while fans waited for confirmation of the Finnish monsters' talent to compose anthems with unstoppable choruses that plunge straight back to the 1980s.

"Deadache" is not what is commonly considered as artistic risk-taking. The recipe remains the same, apart from a few details, as the one that allowed the quintet to build a good reputation since the release of "Get Heavy" (2002) namely muscular melodies and irresistible refrains carried by the unique, low and hoarse voice of Mr. Lordi and the hyper-efficient riffs of Amen, enriched by the keyboard lines of Awa, and propelled by an irreproachable rhythmic section. On this new opus, the must-haves are "Girls Go Chopping" with its demonic ritornello-like verses, the single "Bite It Like A Bulldog" and its biting chorus, the melodic and melancholic mid-tempo "Monsters Keep Me Company", the scathing "Man Skin Boots" or the efficient "Dr. Sin Is In" with its AC/DC introduction.

The production by Nino Laurenne (Thunderstone) is a little drier but leaves room for each instrument. The few evolutions come mainly from soli a little more developed from Amen ("Girls Go Chopping", "Deadache") and the acceleration of the tempo which often reinforces the kinship with Accept ("The Ghost Of the Haceta Head"). Some surprises also with the acceleration on the finale of the ballad "Evilyne", the gothic interlude "The Rebirth Of The Countess" which sees Awa expressing herself in a Frenchman without accent on a piano melody, the use of the melody of Andrews Lloyd Weber's Phantom of the Opera on "Devil Hides Behind Her Smile", gimmick already used by their compatriots from Nightwish on "The Phantom Of The Opera" (2002), or the guitar/keyboard duel on the bonus "Hate At First Sight" with a melody that also reminds us of Tuomas Holopainen's gang.

Without any lack of taste, "Deadache" essentially looks like an album without any real risk, allowing Lordi to provide a series of quality tracks while reassuring himself in front of the audience's expectations. Suffering from a slight linearity, it nevertheless confirms the gift of Mr. Lordi and his band to compose catchy melodies and unstoppable choruses. An opus that won't really change things but will bring their dose of hits to all fans of the genre! - Official website

LORDI

DEADACHE

SONY BMG

MELODIC METAL