As a collection of "models" boasting the Stam1na trademark, Raja ranges from new and improved to standard to slightly inferior. Or, using the drug analogy, these "doses" vary from extremely potent to placebic. Their self-titled debut and, especially, UKK, are more demented and frenetic, qualities that are sometimes annoying, but most often exciting. On Raja there are less jerky rhythms, less dramatic and frequent changes in speed, and fewer songs with highly complex structures. Although by no means restrained, except where appropriate, only occasionally does vocalist Antti "Hyrde" Hyyrynen yell like someone whose arm is being viciously twisted behind his back. On the other hand, the new album has a wider dynamic spread, and the melodies possess not only the catchiness and quirkiness this band is known for, but an unprecedented degree of beauty and sophistication, particularly the vocal harmonies. With somewhat slower pacing and less emphasis on the high end, there is none of the chirpy, chattery layering heard, for example, in UKK's "Edessäni," which allows the loveliness of the smooth vocal lines to have greater impact. Although the band's fondness for unimaginative choirs is still in evidence, they are generally not as frivolous and obtrusive on this album.

With less going on in each song, with less effort required just to be aware of where one ends and the next begins, Raja is easier to get a fix on than the first two albums. The highlights and low points are more sustained, leap out immediately, and stay there, through numerous listens. You don't hit one of the peaks until about a third of the way into the album, but when you do, it's drop-dead dazzling. Fusing the somber beauty of UKK's "Ovi," for which Hyrde has described it as "some kind of sequel" thematically, with the edginess associated with their more up-tempo material, "Vartijaton" might be the most mature song Stam1na have ever written. A unique vibe and exciting tension are developed through the mixture of syncopated riffing, off-tempo drums, hypnotic, floating vocal harmonies, dirge-like chord progressions, and shifts from spare to full orchestration. Throughout, Hyrde's singing has never been more sophisticated. Only physical force could break this track's mesmerizing hold, and it comes from the insanely danceable "Voima Vastaan Viha," which has a flowing, kinetic groovaliciousness hearkening back to the debut album but with greater multidimensionality, courtesy of Raja's improved sound dynamics. Afterwards, Stam1na once again take possession of your mind with "Laake," whose zany riffing, leads, and effects will leave you reeling, as will its stunner of a chorus, which rivals anything they've done before in terms of elegant composition and infectiousness.

The enhancements to Stam1na's sound and their growth as songwriters are further demonstrated in the richly textured "Muuri," which gracefully interweaves gorgeous vocal lines and effectively intertwines agitation with melancholy. The two moods fester together until they're released in an affecting solo that illustrates the advancements in Pekka "Pexi" Olkkonen's guitarwork on Raja. Not content with just technicality, he's now imbuing his leads with an emotiveness not found on the earlier albums. On the first few listens "Muuri" seemed a more fitting closer than the lighter-toned "Murtumispiste," but the latter, besides being well-crafted, rollicking, and fun, makes for a dramatic ending through excellent overall pacing and key building-moments.

With so many displays of increased skill and creativity, it is therefore all the more surprising to find a few instances of subpar composition and/or lack of innovation. The finest moments of the album opener are Hyrde's perfect simulation of a saxophone in the drawn-out scream at the onset and his delightful answering snarl at the close. In between, "Hammasratas" feels a bit rushed (which, despite Stam1na's penchant for speed, is rare for them) and thrown together (which is odd considering it's not one of their more intricate songs). There is also a sense of sameness between the verses of this and the following two tracks, due to the predominance of Hyrde's hammering vocal style. Although pleasing, his shouting is more accelerated than usual on this album, making rhythmic distinctions amongst those parts barely perceptible, particularly when consecutive songs are involved. Over-familiarity also mars "Kädet Vasten Lasia" and "Luova Hulluus," the latter sounding like generic Stam1na and segments of the former like generic Meshuggah.

As a whole, Raja falls just a little short of the very high mark set by UKK, the chief disappointment being the reduction of challenging structures and rhythms. Otherwise, Stam1na's trademark sound is not only intact but enhanced, broadened, and as potent as ever. They are still, among other illustrious things, the ideal band for anyone who appreciates Finnish-language metal, unsurpassed in making their mother tongue's distinctive percussiveness and mellifluousness an integral, enriching part of their music. With the addition of new sonic and emotional textures, we are seeing a natural evolution, as well as the continued maturation of Stam1na's songwriting and musicianship.

written by Maud

Playing time: 43:41