These dynamics operate in some basic ways, e.g., pairing a metallic verse with a folky chorus, but more often in subtle ones. The striking main riff and groove of "Kalaman Kalapee" and the marching rhythms in the verses of "Laalavat Jouset" and "Kärähtäny Kylä" sound like a cross between heavy metal and folk. The dirge-like "Kärähtäny Kylä" could do with some variation in melody and/or tempo, but any sense of monotony is mitigated by the beautiful sounds of a thunderstorm and vanishes altogether when the funeral procession is interrupted at midpoint by zany spoken exclamations that subside into weird distortion.

The imaginative use of vocals is one of the main reasons listening to Muanpiällinen Helevetti is like being in a wild but somewhat familiar place. Tough and biting, frontman Puijon Perkele's clean singing is forceful even when taking on a folk cadence and generally resembles that of no one else on earth. He and a supporting cast consisting of Musta Savo, Savon Surma and a slew of guests, including Tarot's Marco Hietala and Tommi "Tuple" Salmela, and Turmion Kätilöt's MC Raaka Pee and Spellgoth, produce rough and smooth vocals which, moreso than the language itself, serve as foils for the album's classic metal and rock sounds. An integral feature of Muanpiällinen Helevetti's orchestration, the arrangements for these voices are ingenious: tempests, isolated outbursts, clever effects, elaborate layering and harmonizing that capitalize on their diversity and in some cases, Perkele's in particular, uniqueness, maximizing their contrast to the song styles and other instruments.

Nowhere is the listener thrown more off balance than in "Kurjuuvven Valssi," which opens with an unusually feral vocal swarm, darting melodic death metal riffing, and stampeding drums. Continuing the aggression with the first verse's Turmion Kätilöt-like rippling groove, this song is like a savage army bearing down upon you until, cowering but fascinated, you're yanked into the temporary safety of a slower, folky chorus. While maintaining intensity, the rest of the tracks exert force in more restrained ways. Yet it is the sense of control in the big, bold riffs and tight, regimented guitars and drums of songs like "Jäläkeläenen," "Vihankylyväjä," and Tuljmyrskyt that is contrasted so effectively by wilder details like horror music elements and, especially, harsh vocals. Not only do the hissy and deep growls, cries, shrieks, snarls, yaps, etc. seem singularly untamed, but through perfect timing and use of space, their interjections can be as startling as emanations from a haunted house or a jungle.

The band's selection of the term Savo Metal to describe their music indicates how vital a part of their identity they regard their lyrics' dialect and content, and perhaps also the characters portrayed with their costumes. If black humor-oozing statements like "Vatican's slaughterer devil's cock in his mouth, can't talk right now" (a rough translation of a line in "Noetavaeno" offered by a Kuopio native, who is quoted here with permission) are any indication, understanding of the lyrics would provide much entertainment, besides possibly lessening the feeling of abruptness in the endings of certain songs, which works better in some cases ("Noetavaeno") than others ("Jäläkeläenen" and particularly "Kalaman Kalapee"). As with any great music, however, Muanpiällinen Helevetti loses very little for those without fluency in its language. Although I'm appreciative of the inspiration behind Verjnuarmu's linguistic and visual choices, those cachets are only a small part of what makes this album one of the most individualistic, stimulating, and impressive of the year.

written by Maud

Playing time: 40.01