Blog

It isn’t an easy time to write about music, since it hasn’t been an easy day, week, month, or year since February 2022. Today, I am sitting outside in nature under a beautiful, bright, and sunny day in Helsinki, yet feeling sentimental, that made me think of how I used to spend bright summer days like these with my family back in the day, while listening to the thrilling concept of Kotlovan, with their latest single, "In the Land."

It doesn’t take too much time for Kotlovan to start proving themselves to the world when you listen to "In the Land" for the first time. These American collective or the solo artist of this project Farkhad Saidmuratov have the necessary twist in their craft not only in their understanding of progressive music but also in their language, and, turns out, their music doesn’t sound American at all. I remember it captured my attention every time I heard the Asian folklore influences in the verse section that brought back memories of The Hu among with Turkic, Mongolian, and Scandinavian folk. The collective flawlessly blends folklore with art and 80s prog rock influences, demonstrating a hallucinatory journey that pulls the listener from reality.

Moreover, the band has similarities with names from different geographies such as the American Pink Floyd, Turkish Baris Manco, and Finnish Kingston Wall in their rich instrumentation, also sounding both vintage, fresh, and nostalgic at the same time. Beyond the vocals, the song also stands out for its powerful instrumentation, synths, guitars, bass, drums, and other additional elements. Although Kotlovan might not be an orchestra, their music mimics the compactness of movie soundtracks.

Composition-wise, it rightfully reminded me of Opeth for being simple yet progressive, feeling like the journey can take unexpected turns at all times. In brief, it made me want to hear more of them, although with huge expectations this time.

On the other hand, there's not much I can possibly add if I were asked to produce Kotlovan’s upcoming record. Their standards showcased in this song are quite established, specific, and personal to an extent that I would not dare to make any suggestions.

In conclusion, discovering Kotlovan, who reminded me of bands that involve folklore I used to listen to, has been a great pleasure without a doubt. A captivating journey that incorporates prog rock with Central Asian folklore in the 80s vintage soundscapes, sounding fresh and nostalgic at the same time. I truly enjoyed listening to this band. Thank you for reading.

Kotlovan's latest studio release; "Mementos" credits:

Farkhad Saidmuratov: production, engineering, drums, percussion, drums programming, vocals, backing vocals, acoustic guitar, electric guitar, bass, bass VI, Rhodes, piano, synthesizers, flute, recorder, jaw harp, effects, field recordings, dombra
Ilya Krisa: effects (“Memento 34”)
Don Farwell (Earwig Studio, Seattle, WA): engineering
Erik Takuichi Wallace (Shibusa Sound, Bellingham, WA): mixing
Ed Brooks (Resonant Mastering, Seattle, WA): mastering
Christopher Newton: additional engineering (“Memento 34”)
All tracks written by Farkhad Saidmuratov, except “1st of March” written by Mikhail Kolesnik & Farkhad Saidmuratov
Cover art by Vilvarion, Farkhad Saidmuratov & Ilya Krisa

Kotlovan on the Web:

Journey through the rich, diverse world of rock with 'New Rock Chronicles: Beyond the Mainstream,' where the spirit of rock thrives.

Another hectic Monday of contrasts here in Myyrmäki, with both rainy and sunny weather all day long, young kids in the neighborhood looking for trouble, and underage girls asking to buy them alcohol. It is evening time and as I write this down back in the office, a local Helsinki project of a talented producer, "Aeonatan," is playing in my headphones with his latest EP album opener song, which is also the EP title; Worldeater. Most certainly a special name with a special concept for those who enjoy moody music. Let me go into the details below.

It is true that I have been involved in moody and soft music concepts for the last ten years without professionally practicing or performing it, and it didn't take much for Aeonatan to catch my attention with these qualities, the solo project of Finnish musician/producer Jonathan Stenfors.

First of all, Aeonatan incorporates influences of grunge rock, alternative rock, punk rock, and shoegaze in his musical language, while experimenting highly digitalized and processed modern soundscapes. However, Worldeater also demonstrates how he professionally handles mixing both major and minor climates in the song, not trapping the listener with anything usual. The beginning and the grunge/alternative part of the song immediately evoked memories of Nirvana, while the song resolves into unexpected punk rock territories in the second part. I believe it was a good idea from the beginning, and he made them work flawlessly.

The sound part of the work deserves big credit in the outcome. Worldeater does not sound like a song that I hear that often, regardless of the similarities and familiarities. In conclusion, I very much enjoyed the highly detailed characterization. Nonetheless, the work has an abundance of artistic ideas within.

On the other side of the coin, I don't have too much to offer from my side if I were asked to produce Aeonatan's next album, since it is highly personalized and detailed work. Although I feel like making any suggestions would be too personal, I would also like to share that I would prefer listening to Aeonatan less processed.

In conclusion, discovering Aeonatan, the project of such a talented composer/performer/producer from Helsinki, has been a pleasure. 90s grunge, shoegaze, and alternative rock are being experimented in highly processed and piercing moody post-modern soundscapes by a promising performer/producer who also enjoys detailed work. Thank you for reading.

written by jonatan stenfors
produced by jonatan stenfors, lauri loikkanen
mixed by lauri loikkanen
mastered by Jarno Alho / Alho Audio Mastering
cover art by elsiniinkuhelsinki

Aeonatan on the Web:

Find solace in the hauntingly beautiful world of 'Alternative & Shoegaze Essentials,' where music speaks directly to the soul.

Today I am writing about a still up-and-coming band from Finland, despite their catalog that started back in 2019. Their self-titled EP album consists of all the other singles they released over these years, with an additional new track, the album opener, that introduced me to this band.

Although I had mixed feelings while listening to The Tide for the first time about a month and a half ago, as someone who has around 20 years of investment in music, I believe the collective deserves appreciation for their foundational work showcased in this song. After hearing the song a few times today on repeat, I noticed that Restriction Line blends two major characters together: the melodic, which is the opening part with melodic vocals and fast tempo drumming that reminded me of Opeth, and right in the middle of the song, the composition resolves to Dimmu Borgir’s understanding of symphonic death metal.

Musically, the band has done everything the right way, and their performances sound flawless. While incorporating the subgenres mentioned above, the band also shows potential with their technical capabilities. The two personalities of the vocalist can definitely work, and the drummer here made a huge impact by giving the song such an uneasy but interesting feel. These two played the entire show for me, and that was good enough.

On the other side of the medallion, I would like to share my opinion as if I were asked to produce their upcoming album because I think I can improve this band in a very short time.

Firstly, I believe the band has the necessary production quality yet not the sound personality that will distinguish them while the vocalist is not singing, even further during the growling parts. This can be improved, and the band would automatically level up in their game.

Secondly, I also think that the vocalist does have the skill yet not the character his vocals need in terms of sound design. The vocalist plays a foundational role in Restriction Line’s destiny, and he has got to have the finest sound in the entire project; then you build the rest on top of that greatness.

In conclusion, I am simply delighted to discover such a local band from Finland. Melodic and symphonic death metal incorporated by a talented collective in their debut, drawing influences from Dimmu Borgir and Opeth. Thank you for reading.

Restriction Line on the Web:

Embark on a further exploration of metal's hidden talents with our handpicked 'Monsters of Metal Underground' Spotify playlist.

Another hectic Tuesday afternoon here in my surreal life in Helsinki, currently listening to and writing about a passionate up-and-coming band: Waves of Distortion, hailing from Sacramento, California. Their second studio album, Shattered, has been on my radar for the last week, and now I finally found the time to write about it. The album was released not long ago, on May 25, 2024.

First of all, I would like to start by emphasizing the fact that Shattered is a good-sounding album with the necessary quality to make an impact on the listener, although imperfect. Waves of Distortion prefers trendy-sounding modern soundscapes for their concept. I found my listening experience positive each time, and I firmly believe that they have done a good job.

Secondly, the album consists of melodic, easy-listening music regardless of its heavy instrumentation, reminding me of a modern melodic metalcore version of Linkin Park. The musical concept incorporates additional alternative and melodic metalcore influences in its origins as mentioned above, performed by a passionate collective that stands out for its commercial value. In this case, my favorite track, Mars, caught my full attention on my first listen, and that doesn't happen very often. So my conclusion is, after listening to the album a few times on repeat, that Waves of Distortion is talented at writing new music, even though they are in the early stages of development.

Moreover, the vocalist naturally stands out for his role and character, reminding me of Maynard James Keenan of Tool, Jonathan Davis of Korn, and Chester Bennington of Linkin Park. He can sing melodically and also deliver growling performances that emphasize Waves of Distortion's modern metalcore side. He solely provides the main character to the band's sound, also supported by the producer with additional vocal personalities. I see all these as part of the collective's creativity and experience.

On the other side of the coin, I can see a few things that can help this band become better, which I would like to share not as an expert but as a music enthusiast. However, I don't want them to sound like criticism, so I will put it this way: If I were asked to produce their upcoming record, this is what I would have in mind.

First of all, I think Waves of Distortion needs to have the main focus on their vocal characterization. In other words, their sound design has to start from the vocal character and build on top of it because that is the basis of everything humanly happening in the music, which at the same time is the most foundational element in music regardless of everything else.

Secondly, has the band already dropped their tuning specifically for the vocalist's vocal range? Or did they just drop it to the most trendy and generic tuning and continued with it because it's somehow the standard? I asked myself this while listening to the record because I am not convinced that this is his best-performing range, and that can cause a problem. This would be another element that I would work on as a must.

Lastly, the band can deliver good songs, so they can use all the character and value the producer can provide. Shattered is a good-sounding album objectively, as I mentioned earlier. However, this is just a step forward in the band's development, and they have so much room to improve in terms of distinctive sound designs.

In conclusion, Shattered is a good-sounding album that was performed, recorded, mixed, and produced properly, which I enjoyed most importantly for its balanced standards. A good-sounding modern melodic metalcore record that stood out to me for its balanced approach and commercial value, evoking memories of Linkin Park and their ability to write catchy songs with heavy instrumentation and electronic elements. Thank you for reading.

Waves Of Distortion:
Bass: Glen Evans
Drums: Dustin Slack
Guitar: Brennen Von Slack
Vocals: Joe Fox

Audio Production:
Producer: Brennen Von Slack
Written and Performed by: Waves of Distortion
Produced, Engineered, and Mastered by: Nick Miller
Drums recorded and edited
By: Jesse Fíoren “CrowKeeper Studios”
Drums written and performed
by: Isaiah AR

Waves of Distortion on the Web:

Witness the rise of tomorrow's metal icons today in 'Monsters of Metal Underground,' where each track is a revelation.

Back with a new mixtape, this time featuring bands that have not been featured on the podcast this year.

Grab your favourite beverage and hit play.

Track list

The Earth Below – Holy Fire

Upon Stone – Dead Mother Moon

Eternal Storm- The Void

Job For A Cowboy – Beyond The Chemical Doorway

Timelost – Eternal Vibe

Borknagar – Moon

Haunt – Steel Mountains

Known Demise – Under

ClearXcut – The Seventh Seal

Glassing – Wake

WHEEL – Porcelain

Marty Friedman – Triumph

Four Stroke Baron – The Witch

Takatak – Let You know

Do let me know which was your favourite track from this episode.

Another blessed daytime here in St. Helsinki with an absolutely clear sky and sunshine, I am listening to a special record that has been repeatedly played in my library for the last two weeks. Headshrinker, a vintage black/death metal project hailing from Denver, Colorado, has released their debut album titled Callous Indifference on August 27, 2021.

My listening experiences of Callous Indifference started with a sour taste that kept me hooked for a few days. Although I don’t have enough clarity in my thoughts even as of today, there was enough quality that earned my respect, so I will try to share my honest opinion here.

The album caught my attention with its familiar concept that incorporates death, black, doom, and progressive metal influences with a contemporary sound and vintage character. Musically, it stands out for its ugliness above everything else since the understanding behind it doesn’t involve anything related to beauty. While the band maintains an album concept of this specific taste, they explore extreme, blackened, technical, and progressive worlds, accompanied by the collective’s monstrous performances. As a guitarist with 20+ years of experience in the music world, Headshrinker has one of the best contemporary guitar and drum combinations with so much power, liveliness, and an old-school character, evoking memories of Death records that I admire; they both aim to capture analog sounds with top-notch musicianship performances.

Moreover, Callous Indifference has a structure that is rather based on instrumentation rather than the vocals as we are accustomed to from these genres, which is at the same time, one of the strong qualities of Headshrinker. The collective deserves the utmost respect for their understanding of a tight metal sound that will make them sound as established as industry-leading records, in my honest opinion.

On the other side of the coin, the album regrettably didn’t resonate with me in its musical language. I have to admit that I found it a bit too narrow and limited, even though I imagined myself playing guitars with them on the seventh track, "Suffocating Tomb," my favorite song on the album, and its signature riffs made me feel this way.

In conclusion, Headshrinker is one of my strong recommendations for those who specifically enjoy these worlds. Offering an established contemporary sound with vintage characteristics, incorporating death, black, doom, and progressive metal influences with top-notch musicianship performances, although in a traditional language. Thank you for reading.

Headshrinker on the Web

Plunge into the heart of the metal underground; our 'Monsters of Metal Underground' playlist is where undiscovered legends are waiting for your ears.

I got to speak to Joseph Rowland of Progressive Rock / Metal act Pallbearer about the band’s latest album Mind Burns Alive. Joseph sheds light on the album’s exploration of fate, mental duress, and the poignant impact of loneliness. With a backdrop of the pandemic, the album’s vignettes offer a deep, emotional resonance that most listeners can connect with. Discover the unique recording process behind the album, how having their own studio space shaped its sound, and get a sneak peek into the band’s tour plans.

The solo album from Kerry King (Slayer), From Hell I Rise is really impressive, I played the single, Toxic at the start of the episode.

Track list

Kerry King – Toxic

Pallbearer – Signals

Another afternoon with a bright clear sky that warms hearts and blesses with vital energy here in my surreal reality in Helsinki. Today, I am writing about a project that inspired me as a guitar player; Goro, hailing from Quito, Ecuador. I discovered them with the song called "Emperor Prophet," from the band's debut studio EP titled "Last Wave of Summer," released on April 19, 2024.

It was one of those rare occasions that I experienced listening to Goro for the first time with "Emperor Prophet," and their mastery of guitar tones urged me to write about this special project of Jose Romero, the guitarist and vocalist. Musically, I found many similarities in Goro with my personal appreciation of heavy music. Even further, I have discovered many fantastic talents during the last decade, yet no one has come this close to the type of guitar sound I prefer, together with the necessary action.

First and foremost, "Emperor Prophet" stands out for its concept that incorporates analog sounds, even though well produced, with the Metallica drive in guitars, Mastodon’s understanding of sludge music, and a pinch of alternative metal influences that I felt during my listenings. Although it has safe boundaries in terms of regular progressive compositions, the essence showcased in this song leaves you wanting to hear more from Goro.

Technically, the band shows promise with their ability to explore strong personalities, along with their capability to establish industry standards in their sound production. "Emperor Prophet" does not only sound promising, but more importantly, it marks the exciting beginning of an interesting sonic journey. This song sounds as badass as possible in my understanding, being only the fifth official single release in Goro’s catalog.

On the other hand, I don’t have much to add since I appreciate the band’s personal direction. However, at the same time, I can’t help but expect to hear them exploring deeper musical languages in the future, unlike their approach to "Emperor Prophet," just because I feel like they are capable of such a demanding task. They reminded me of one of Mastodon’s classics; "Sleeping Giant."

In conclusion, I am delighted with my discovery of such a talented collective, Goro from Ecuador. An irresistible concept that incorporates Metallica’s drive with Mastodon’s understanding of sludge/prog metal, accompanied by masterfully crafted iconic guitar tones and analog soundscapes. Strongly recommended metal. Thank you for reading.

Goro, Last Wave of Summer EP
Released April 19, 2024

José Romero – Guitars / Vocals
Guillermo Bolaños – Bass
Jaime Molina – Drums

Produced by José Romero
Mixed by Derek Mattin
Mastered by Juan Pablo Rivas
Cover illustration by Haryo Awonggo
Guest vocals on 'Wage Slave' by Diego Rojas
Drums, bass and guitar tracks recorded at Xerbero studios in Quito, Ecuador
Additional guitar tracks recorded by Omar Miranda at La Bulla studios in Quito, Ecuador
Vocal tracks recorded by Diego Rojas in Ascazubi, Ecuador
Edited by José Romero
Music and lyrics by José Romero

Goro on the Web:

Don't stop here. There's more to discover in the metal universe with our 'Monsters of Metal Underground' Spotify playlist, featuring the finest selection of emerging artists.

Another numbered sunny day here in Helsinki, I am writing about a song that has been sitting in my library for about two weeks. Avalon Stone hails from Toronto, Canada, and this is their most recent single, Drag Me.

Avalon Stone is an emerging artist from Toronto, and Drag Me is only her third official single release so far. I remember my first listening experience of this song, and after about two weeks, nothing has changed in my feelings towards the music. As we can all agree, the song stands out for its production standards as well as its familiar-sounding alternative rock concept. Although the song was structured around the idea of having a radio-friendly product with commercial potential, hearing analog instrument sounds has always been a great experience for me, especially in impressive soundscapes such as this.

Musically, the song incorporates 90s pop, alternative, and rock influences in its origins, led by a talented vocalist with the necessary charisma and character in her voice to make it sound promising. In fact, her vocals play an indispensable role in their music since the instrumentation has familiar foundations.

On the other hand, I think the only concern I have in mind for Avalon Stone would be to keep on keeping on. She is on the right track, and I believe her unique essence in music will develop together with her progress in her career. I genuinely found Drag Me as successful as it can be, in addition to the fact that it musically has so much room to grow.

In conclusion, it has been a pleasure discovering Avalon Stone from my side. Timeless analog instrument sounds masterfully crafted with mainstream qualities, led by a passionate and talented singer with alternative rock roots. Thank you for reading.

Avalon Stone on the Web:

Escape the ordinary and embrace the extraordinary sounds of rock with our 'New Rock Chronicles: Beyond the Mainstream' playlist.