Review by Michael on September 20, 2021.

The mid-90s were (at least for me) a pretty cool time, especially when it comes to the music I discovered there. I remember that almost every month some pretty cool albums were released, especially when you think about the black metal scene. Of course, not only the Scandinavian scene was pretty strong at that time, but I guess they were the most influential in that part of the world. So, it is always nice to listen to the old stuff and feel a little bit nostalgic. I mean, back in these days you did not have any problems with your back nor you started counting your first grey hairs. Or things worse than this (though what is worse than grey hairs? Maybe no hairs…). For some time now, I was looking for new music that fills the gap between those old classics and the quite often not really catching releases (of course there are some exceptions, but most don't really impress me too much) of the pre-in between-post-vegetarian-drone-hippie-straight-edge-black metal scene nowadays. Dutch Schavot did a great job with the release of Galgenbrok but I have to confess that the album took some listening to to open up fully to me but ever since that I have to say that it plays quite often out of my stereo.

The album starts with an atmospheric and mystic intro which doesn't last too long and turns into a very melodic and catchy track soon enough. The riffs are sharp as blades and the drumming is quite fast and pummeling. The vocals are kept very aggressive and through the double-laid vocals (high-pitched and somewhat deep and demonical) there is certain evilness in it (and again, as I already stated in former reviews, the Dutch language makes up the rest). But through the often-used keyboards, the track keeps up a great atmosphere throughout. 'Galgenbult' reminds a lot of old Emperor or Satyricon mixed with some old Swedish black metal influences, especially through the mixture of the keyboards and the dramatic riffs combined with the spoken words. This is pure 90s worship! The following track 'Witte Juffer' starts quite atmospheric but; from minute 2 turns into a tribute to Zyklon B, if anybody remembers this cool Norwegian all-star band anymore. Very aggressive and again I have to confess that I didn't felt such a 90s vibe on a new album for a very long time. Another very sublime and atmospheric song is 'Moeratland' which a great keyboard arrangement and icy guitar riffs combined with galloping drums. The very catchy bridge is epic as fuck and makes me shiver from full of nostalgia again. 'Droglicht' is a track that could have been on "Nemesis Divina" by Satyricon. Here Schavot create this dense and thriving atmosphere that Satyr and Co. recorded on their 1996 output. This is really another greatly outstanding track, but all the compositions are worth listening to.

What else can I say about Galgenbrok? The artwork is really lovely designed and keeps this somehow mystical atmosphere in mind. The cover painting is designed by Johan Prenger, a Dutch painter who did some really impressive work in the past. The production of Galgenbrok was done by Floris Velthuis (the mastermind behind the band and also active in other bands such as Sagenland or Asgrauw) and is a really good black metal production. It leaves a cold atmosphere, and the bass is kept slightly in the background so you cannot feel too much warmth in it. Nevertheless, the production is very clear, and I would say that it doesn't lack anything here.

So, as a final conclusion I would say, if you are a fan of mid 90s Scandinavian black metal and bands such as Emperor, Ulver, Satyricon etc you should immediately listen to the album because in my humble opinion there hasn't been an album release within the last years that keeps the spirit of the 90s alive like Galgenbrok. Nevertheless, maybe Floris will be able to top it on the next Schavot album (although I know this will be quite difficult) but this is the only reason for not giving a full 10-point rating!

Rating: 9.9 out of 10 not grey hairs

Review by Michael on September 20, 2021.

The mid-90s were (at least for me) a pretty cool time, especially when it comes to the music I discovered there. I remember that almost every month some pretty cool albums were released, especially when you think about the black metal scene. Of course, not only the Scandinavian scene was pretty strong at that time, but I guess they were the most influential in that part of the world. So, it is always nice to listen to the old stuff and feel a little bit nostalgic. I mean, back in these days you did not have any problems with your back nor you started counting your first grey hairs. Or things worse than this (though what is worse than grey hairs? Maybe no hairs…). For some time now, I was looking for new music that fills the gap between those old classics and the quite often not really catching releases (of course there are some exceptions, but most don't really impress me too much) of the pre-in between-post-vegetarian-drone-hippie-straight-edge-black metal scene nowadays. Dutch Schavot did a great job with the release of Galgenbrok but I have to confess that the album took some listening to to open up fully to me but ever since that I have to say that it plays quite often out of my stereo.

The album starts with an atmospheric and mystic intro which doesn't last too long and turns into a very melodic and catchy track soon enough. The riffs are sharp as blades and the drumming is quite fast and pummeling. The vocals are kept very aggressive and through the double-laid vocals (high-pitched and somewhat deep and demonical) there is certain evilness in it (and again, as I already stated in former reviews, the Dutch language makes up the rest). But through the often-used keyboards, the track keeps up a great atmosphere throughout. 'Galgenbult' reminds a lot of old Emperor or Satyricon mixed with some old Swedish black metal influences, especially through the mixture of the keyboards and the dramatic riffs combined with the spoken words. This is pure 90s worship! The following track 'Witte Juffer' starts quite atmospheric but; from minute 2 turns into a tribute to Zyklon B, if anybody remembers this cool Norwegian all-star band anymore. Very aggressive and again I have to confess that I didn't felt such a 90s vibe on a new album for a very long time. Another very sublime and atmospheric song is 'Moeratland' which a great keyboard arrangement and icy guitar riffs combined with galloping drums. The very catchy bridge is epic as fuck and makes me shiver from full of nostalgia again. 'Droglicht' is a track that could have been on "Nemesis Divina" by Satyricon. Here Schavot create this dense and thriving atmosphere that Satyr and Co. recorded on their 1996 output. This is really another greatly outstanding track, but all the compositions are worth listening to.

What else can I say about Galgenbrok? The artwork is really lovely designed and keeps this somehow mystical atmosphere in mind. The cover painting is designed by Johan Prenger, a Dutch painter who did some really impressive work in the past. The production of Galgenbrok was done by Floris Velthuis (the mastermind behind the band and also active in other bands such as Sagenland or Asgrauw) and is a really good black metal production. It leaves a cold atmosphere, and the bass is kept slightly in the background so you cannot feel too much warmth in it. Nevertheless, the production is very clear, and I would say that it doesn't lack anything here.

So, as a final conclusion I would say, if you are a fan of mid 90s Scandinavian black metal and bands such as Emperor, Ulver, Satyricon etc you should immediately listen to the album because in my humble opinion there hasn't been an album release within the last years that keeps the spirit of the 90s alive like Galgenbrok. Nevertheless, maybe Floris will be able to top it on the next Schavot album (although I know this will be quite difficult) but this is the only reason for not giving a full 10-point rating!

Rating: 9.9 out of 10 not grey hairs

Review by Fernando on August 8, 2023.

Finnish black metal, while I could go on a lengthy summary of how the country is still pumping black metal, that’s pretty much basic knowledge at this point, however this is a bit different. As we have one of those Finnish bands that courts controversy in a way that’s too much for comfort to a lot of people, which is understandable. Which brings us to Sielunvihollinen, this is one of those bands that has (according to Metal Archives) Anti-Islamic lyrics. You’re free to make whatever conclusions and assumptions, and I’d be lying if some of this band’s lyrics from what I could actually understand and translate didn’t make me raise an eyebrow. Alas, I’m not here to pass moral judgment, but definitely take this introduction as a disclaimer, since no one should be forced to listen to music if they vehemently oppose the message or intentions of the band.

With that out of the way, we can now talk about Helvetinkone, the fifth album by Sielunvihollinen and released by Hammer Of Hate. Now and on to it, what does Sielunvihollinen play? Well, it is definitely Finnish black metal through and through, that now trademarked Finnish raw and melodic style of black metal is here and it’s unabashed and unswerving. This band has been at it since 2011 and have pretty much made a name for themselves as a very consistent band but what always catches people’s ears is the way the band blends black metal with Finnish rock and Punk music, the music is obviously very melodic and catchy, but it’s also for lack of a better word, upbeat? Maybe that’s painting a weird picture, but compared to other famous Finnish bands that have melody in their music, Sielunvihollinen definitely stands out, in some areas it sounds like a grittier version of Children Of Bodom but without synths and much more aggressive. This is especially noticeable in this record, previous Sielunvihollinen albums would also get catchy and groovy, but there were bigger walls between songs, if a song was a melancholic and depressive black metal dirge, it stuck to that, same if it was a pure punkish rager. This record on the other hand is consistently rocking and much more dynamic with its scattershot influences from different genres.

The record is definitely black metal at its core, even at its most self-indulgent where the dual guitar play has overt glimpses of Iron Maiden. Furthermore the production is what really pushes the boundaries of Sielunvihollinen’s black metal sound. This record sounds crisp and full, the drumming and the guitars are the most present in the mix next to the vocals which are surprisingly well-fitted in spite of the album’s melodic excesses, though while I’m usually tolerant of a low sounding bass, I do wish the bass wouldn’t be drowned by the guitars and drums because when its actually present it sounds great. What to me is the album’s greatest strength is how everything comes together, since all of the elements on paper for a black metal band would sound flat out ridiculous, but it works. Obviously the members of this band are talented and skilled, it goes without saying that the eclectic influences added into the Finnish style of black metal can only work if the musicians playing the instruments have an equally eclectic set of skills and tastes.

To conclude this review I want to highlight the last two songs on the album which I also think are the best tracks bar none. ‘Kun Kaikki Vihdoin Kuihtuu Pois’ and ‘Läpi Harmaan Kiven’, the second to last one for starters is the longest track so that means the band had to be more adventurous as the record as a whole is fast, aggressive and very technical when it comes to the riffs and leads. On this song however, they both display the best qualities of their Finnish rock and roll, classic heavy metal and punk influences, but it’s also the most black metal song on the record by virtue of how massive and oppressive it sounds, which feels like a contradiction but that’s what makes it work in a very bizarre way. And the last track is where the band pretty much drops the pretenses and do pure, classic and uncut black metal and whatever leanings or tendencies of Finnish rock and punk are more subdued in favor of the album closing with black metal with zero bells and whistles.

While many would avoid a band like this for perfectly valid reasons, and I definitely wouldn’t recommend it to most, this was a very surprising and unorthodox record to check out, sure, in some areas it is very self-indulgent, but in the realm of black metal, bands that aren’t drunk off their own pretensions and ambitions are a rarity, if anything Sielunvihollinen prove black metal can be more than just screeching, blast beats and tremolo picking, although aside from the already mentioned reasons, not many would welcome such wildly out there influences into a subgenre of metal that strives to be inaccessible to most.

Best tracks: ‘Sinetti Ja Symboli’, ‘Kun Kaikki Vihdoin Kuihtuu pois’, ‘Läpi Harmaan Kiven’

Rating: 7 out of 10

Review by Fernando on August 8, 2023.

Finnish black metal, while I could go on a lengthy summary of how the country is still pumping black metal, that’s pretty much basic knowledge at this point, however this is a bit different. As we have one of those Finnish bands that courts controversy in a way that’s too much for comfort to a lot of people, which is understandable. Which brings us to Sielunvihollinen, this is one of those bands that has (according to Metal Archives) Anti-Islamic lyrics. You’re free to make whatever conclusions and assumptions, and I’d be lying if some of this band’s lyrics from what I could actually understand and translate didn’t make me raise an eyebrow. Alas, I’m not here to pass moral judgment, but definitely take this introduction as a disclaimer, since no one should be forced to listen to music if they vehemently oppose the message or intentions of the band.

With that out of the way, we can now talk about Helvetinkone, the fifth album by Sielunvihollinen and released by Hammer Of Hate. Now and on to it, what does Sielunvihollinen play? Well, it is definitely Finnish black metal through and through, that now trademarked Finnish raw and melodic style of black metal is here and it’s unabashed and unswerving. This band has been at it since 2011 and have pretty much made a name for themselves as a very consistent band but what always catches people’s ears is the way the band blends black metal with Finnish rock and Punk music, the music is obviously very melodic and catchy, but it’s also for lack of a better word, upbeat? Maybe that’s painting a weird picture, but compared to other famous Finnish bands that have melody in their music, Sielunvihollinen definitely stands out, in some areas it sounds like a grittier version of Children Of Bodom but without synths and much more aggressive. This is especially noticeable in this record, previous Sielunvihollinen albums would also get catchy and groovy, but there were bigger walls between songs, if a song was a melancholic and depressive black metal dirge, it stuck to that, same if it was a pure punkish rager. This record on the other hand is consistently rocking and much more dynamic with its scattershot influences from different genres.

The record is definitely black metal at its core, even at its most self-indulgent where the dual guitar play has overt glimpses of Iron Maiden. Furthermore the production is what really pushes the boundaries of Sielunvihollinen’s black metal sound. This record sounds crisp and full, the drumming and the guitars are the most present in the mix next to the vocals which are surprisingly well-fitted in spite of the album’s melodic excesses, though while I’m usually tolerant of a low sounding bass, I do wish the bass wouldn’t be drowned by the guitars and drums because when its actually present it sounds great. What to me is the album’s greatest strength is how everything comes together, since all of the elements on paper for a black metal band would sound flat out ridiculous, but it works. Obviously the members of this band are talented and skilled, it goes without saying that the eclectic influences added into the Finnish style of black metal can only work if the musicians playing the instruments have an equally eclectic set of skills and tastes.

To conclude this review I want to highlight the last two songs on the album which I also think are the best tracks bar none. ‘Kun Kaikki Vihdoin Kuihtuu Pois’ and ‘Läpi Harmaan Kiven’, the second to last one for starters is the longest track so that means the band had to be more adventurous as the record as a whole is fast, aggressive and very technical when it comes to the riffs and leads. On this song however, they both display the best qualities of their Finnish rock and roll, classic heavy metal and punk influences, but it’s also the most black metal song on the record by virtue of how massive and oppressive it sounds, which feels like a contradiction but that’s what makes it work in a very bizarre way. And the last track is where the band pretty much drops the pretenses and do pure, classic and uncut black metal and whatever leanings or tendencies of Finnish rock and punk are more subdued in favor of the album closing with black metal with zero bells and whistles.

While many would avoid a band like this for perfectly valid reasons, and I definitely wouldn’t recommend it to most, this was a very surprising and unorthodox record to check out, sure, in some areas it is very self-indulgent, but in the realm of black metal, bands that aren’t drunk off their own pretensions and ambitions are a rarity, if anything Sielunvihollinen prove black metal can be more than just screeching, blast beats and tremolo picking, although aside from the already mentioned reasons, not many would welcome such wildly out there influences into a subgenre of metal that strives to be inaccessible to most.

Best tracks: ‘Sinetti Ja Symboli’, ‘Kun Kaikki Vihdoin Kuihtuu pois’, ‘Läpi Harmaan Kiven’

Rating: 7 out of 10

Review by Fernando on August 8, 2023.

Finnish black metal, while I could go on a lengthy summary of how the country is still pumping black metal, that’s pretty much basic knowledge at this point, however this is a bit different. As we have one of those Finnish bands that courts controversy in a way that’s too much for comfort to a lot of people, which is understandable. Which brings us to Sielunvihollinen, this is one of those bands that has (according to Metal Archives) Anti-Islamic lyrics. You’re free to make whatever conclusions and assumptions, and I’d be lying if some of this band’s lyrics from what I could actually understand and translate didn’t make me raise an eyebrow. Alas, I’m not here to pass moral judgment, but definitely take this introduction as a disclaimer, since no one should be forced to listen to music if they vehemently oppose the message or intentions of the band.

With that out of the way, we can now talk about Helvetinkone, the fifth album by Sielunvihollinen and released by Hammer Of Hate. Now and on to it, what does Sielunvihollinen play? Well, it is definitely Finnish black metal through and through, that now trademarked Finnish raw and melodic style of black metal is here and it’s unabashed and unswerving. This band has been at it since 2011 and have pretty much made a name for themselves as a very consistent band but what always catches people’s ears is the way the band blends black metal with Finnish rock and Punk music, the music is obviously very melodic and catchy, but it’s also for lack of a better word, upbeat? Maybe that’s painting a weird picture, but compared to other famous Finnish bands that have melody in their music, Sielunvihollinen definitely stands out, in some areas it sounds like a grittier version of Children Of Bodom but without synths and much more aggressive. This is especially noticeable in this record, previous Sielunvihollinen albums would also get catchy and groovy, but there were bigger walls between songs, if a song was a melancholic and depressive black metal dirge, it stuck to that, same if it was a pure punkish rager. This record on the other hand is consistently rocking and much more dynamic with its scattershot influences from different genres.

The record is definitely black metal at its core, even at its most self-indulgent where the dual guitar play has overt glimpses of Iron Maiden. Furthermore the production is what really pushes the boundaries of Sielunvihollinen’s black metal sound. This record sounds crisp and full, the drumming and the guitars are the most present in the mix next to the vocals which are surprisingly well-fitted in spite of the album’s melodic excesses, though while I’m usually tolerant of a low sounding bass, I do wish the bass wouldn’t be drowned by the guitars and drums because when its actually present it sounds great. What to me is the album’s greatest strength is how everything comes together, since all of the elements on paper for a black metal band would sound flat out ridiculous, but it works. Obviously the members of this band are talented and skilled, it goes without saying that the eclectic influences added into the Finnish style of black metal can only work if the musicians playing the instruments have an equally eclectic set of skills and tastes.

To conclude this review I want to highlight the last two songs on the album which I also think are the best tracks bar none. ‘Kun Kaikki Vihdoin Kuihtuu Pois’ and ‘Läpi Harmaan Kiven’, the second to last one for starters is the longest track so that means the band had to be more adventurous as the record as a whole is fast, aggressive and very technical when it comes to the riffs and leads. On this song however, they both display the best qualities of their Finnish rock and roll, classic heavy metal and punk influences, but it’s also the most black metal song on the record by virtue of how massive and oppressive it sounds, which feels like a contradiction but that’s what makes it work in a very bizarre way. And the last track is where the band pretty much drops the pretenses and do pure, classic and uncut black metal and whatever leanings or tendencies of Finnish rock and punk are more subdued in favor of the album closing with black metal with zero bells and whistles.

While many would avoid a band like this for perfectly valid reasons, and I definitely wouldn’t recommend it to most, this was a very surprising and unorthodox record to check out, sure, in some areas it is very self-indulgent, but in the realm of black metal, bands that aren’t drunk off their own pretensions and ambitions are a rarity, if anything Sielunvihollinen prove black metal can be more than just screeching, blast beats and tremolo picking, although aside from the already mentioned reasons, not many would welcome such wildly out there influences into a subgenre of metal that strives to be inaccessible to most.

Best tracks: ‘Sinetti Ja Symboli’, ‘Kun Kaikki Vihdoin Kuihtuu pois’, ‘Läpi Harmaan Kiven’

Rating: 7 out of 10

Review by Fernando on August 8, 2023.

Finnish black metal, while I could go on a lengthy summary of how the country is still pumping black metal, that’s pretty much basic knowledge at this point, however this is a bit different. As we have one of those Finnish bands that courts controversy in a way that’s too much for comfort to a lot of people, which is understandable. Which brings us to Sielunvihollinen, this is one of those bands that has (according to Metal Archives) Anti-Islamic lyrics. You’re free to make whatever conclusions and assumptions, and I’d be lying if some of this band’s lyrics from what I could actually understand and translate didn’t make me raise an eyebrow. Alas, I’m not here to pass moral judgment, but definitely take this introduction as a disclaimer, since no one should be forced to listen to music if they vehemently oppose the message or intentions of the band.

With that out of the way, we can now talk about Helvetinkone, the fifth album by Sielunvihollinen and released by Hammer Of Hate. Now and on to it, what does Sielunvihollinen play? Well, it is definitely Finnish black metal through and through, that now trademarked Finnish raw and melodic style of black metal is here and it’s unabashed and unswerving. This band has been at it since 2011 and have pretty much made a name for themselves as a very consistent band but what always catches people’s ears is the way the band blends black metal with Finnish rock and Punk music, the music is obviously very melodic and catchy, but it’s also for lack of a better word, upbeat? Maybe that’s painting a weird picture, but compared to other famous Finnish bands that have melody in their music, Sielunvihollinen definitely stands out, in some areas it sounds like a grittier version of Children Of Bodom but without synths and much more aggressive. This is especially noticeable in this record, previous Sielunvihollinen albums would also get catchy and groovy, but there were bigger walls between songs, if a song was a melancholic and depressive black metal dirge, it stuck to that, same if it was a pure punkish rager. This record on the other hand is consistently rocking and much more dynamic with its scattershot influences from different genres.

The record is definitely black metal at its core, even at its most self-indulgent where the dual guitar play has overt glimpses of Iron Maiden. Furthermore the production is what really pushes the boundaries of Sielunvihollinen’s black metal sound. This record sounds crisp and full, the drumming and the guitars are the most present in the mix next to the vocals which are surprisingly well-fitted in spite of the album’s melodic excesses, though while I’m usually tolerant of a low sounding bass, I do wish the bass wouldn’t be drowned by the guitars and drums because when its actually present it sounds great. What to me is the album’s greatest strength is how everything comes together, since all of the elements on paper for a black metal band would sound flat out ridiculous, but it works. Obviously the members of this band are talented and skilled, it goes without saying that the eclectic influences added into the Finnish style of black metal can only work if the musicians playing the instruments have an equally eclectic set of skills and tastes.

To conclude this review I want to highlight the last two songs on the album which I also think are the best tracks bar none. ‘Kun Kaikki Vihdoin Kuihtuu Pois’ and ‘Läpi Harmaan Kiven’, the second to last one for starters is the longest track so that means the band had to be more adventurous as the record as a whole is fast, aggressive and very technical when it comes to the riffs and leads. On this song however, they both display the best qualities of their Finnish rock and roll, classic heavy metal and punk influences, but it’s also the most black metal song on the record by virtue of how massive and oppressive it sounds, which feels like a contradiction but that’s what makes it work in a very bizarre way. And the last track is where the band pretty much drops the pretenses and do pure, classic and uncut black metal and whatever leanings or tendencies of Finnish rock and punk are more subdued in favor of the album closing with black metal with zero bells and whistles.

While many would avoid a band like this for perfectly valid reasons, and I definitely wouldn’t recommend it to most, this was a very surprising and unorthodox record to check out, sure, in some areas it is very self-indulgent, but in the realm of black metal, bands that aren’t drunk off their own pretensions and ambitions are a rarity, if anything Sielunvihollinen prove black metal can be more than just screeching, blast beats and tremolo picking, although aside from the already mentioned reasons, not many would welcome such wildly out there influences into a subgenre of metal that strives to be inaccessible to most.

Best tracks: ‘Sinetti Ja Symboli’, ‘Kun Kaikki Vihdoin Kuihtuu pois’, ‘Läpi Harmaan Kiven’

Rating: 7 out of 10