Longtime fans will feel on most familiar ground with "Follow the Blind," which has the massive, bludgeoning riffage, dark melodies, stylistic diversity, and structural complexity characteristic of My Fate. Its overall vibe evokes another closing track, Kill the Light's "The Darkness Beckons," one of My Fate's all-time greatest songs. In both there are slight hints of black metal, and the EP's closer features an explosive interlude that has the feel of the earlier song's chorus. A thematic relationship exists also, as both "The Darkness Beckons" and "Follow the Blind" involve submission to forms of perdition, with eyes wide open in the former, unseeing in the latter. While Kill the Light's closer ends with a swift wallop, MMVI's does so with a powerful coda in the vein of the main melody in "Baneflow Cycle," another of My Fate's finest songs. Ominous yet majestic, such melodies are a signature element of this band's sound: their own special expression of melancholy.

Whereas "Follow the Blind" has the reassuring stamp of classic My Fate, "Noise Machine," MMVI's best track, takes the most conspicuous plunge into exciting new directions. Propelled by a variety of Meshuggah-like polyrhythms, this is the most technical song they've ever done and provides the biggest showcase for advancements in Vilho Rajala's already impressive drumming. Despite its innovations, however, familiar sounds are present, such as the buoyant bass in the opening, heralding the main riff and joined by some eerie guitars reminiscent of "I Am the Ocean," from their first album, Happiness Is Fiction (2003). Some of the rhythms in "Noise Machine" are like tighter, more staccato versions of the kind one usually finds in My Fate, and the way this track maintains a constant state of agitation and flow is representative of the cohesiveness and momentum that typify their music. Contributing to the relentless propulsion and overall quality of this song is new vocalist Jukka Ruostila, in his strongest, most assured performance. He gets into a nice groove with his growls, and his clean singing helps make this song's chorus the EP's most infectious, while another, soaring vocal stands out in the latter part of the song.

In comparison to "Noise Machine" and "Follow the Blind," the other two tracks are a bit uneven. The last third or so of "Upstream" is fantastic: well-paced, diverse, highlighted by relentless riffing, a psychotic guitar solo, an adroitly inserted sung interlude, and a dramatic, bash-out finish. The prior part of this song, on the other hand, isn't quite as distinctive and well-constructed as I've come to expect from this band, its weakest point when a moment of silence is used to segue from the somewhat generic (for them) chorus to a transitional passage, both of which are relatively low energy. The latter connects well with the hardcore-oriented part that follows but less dynamically with the chorus, and in this context the pause acts as an additional enervator rather than a stimulating jolt.

A less severe but more extensive listless period occurs late in "Drifting in Shadows": a long, slow instrumental interlude flanked by dreamy-sounding variations on the song's chorus, making for a rather lengthy stretch of mellowness. Although its lead guitars are gorgeous, the instrumental part might have worked better if it were given some element of tension and placed within more intense surroundings. Unlike the melancholy and menace dripping from the heavy guitars and chord progressions elsewhere in this song, the tranquil mood established here by the music and vocals seems at odds with the inner conflict described in the song's lyrics. Ruostila could, in fact, have done more with his singing throughout "Drifting in Shadows." Instead of primarily going for extremes (belligerence and passiveness), adding some subtle shadings would have been more thematically effective and also might have enabled him to achieve the kind of presence needed for this song.

Replacing a singer as unique and gifted as Antti Ojanen would be a tough assignment for almost anyone. Less powerful than his predecessor and at times a little too squawky, Jukka nevertheless possesses talent, attitude, and the diverse style My Fate's music requires. He's even willing to go places Antti tended to shun, especially on the clean side, which is a welcome change, one that should inspire the band's ever-fertile creativity. Their desire to challenge themselves as well as the listener and their commitment to technical excellence are demonstrated by an impressive body of work. Although this latest entry may not be My Fate's most flawless, it is their most innovative. MMVI attests to this band's continued growth and renewed energy, and reaffirms their potential to produce truly ground-breaking metal.

written by Maud

Playing time: 21:00