KALMAH – The Black Waltz

Founded as Ancestor in 1991 by vocalist/guitarist Pekka Kokko and drummer Petri Sankala, Kalmah emerged in 1998 after a series of demo recordings. Two years later, their debut album Swamplord was released on Spinefarm records, and after six years, three added band members, a replacement drummer, and another two albums, The Black Waltz creates an uproar in the misty lakes and solemn woods of Finland.

Another addition to the dominant Metal culture in Northern Europe, Kalmah has clear references to bands like Children of Bodom, In Flames, and Arch Enemy with a somewhat peculiar interest in marshland and the likes -– this being the prime focus of their artwork and lyrics. The band also state influences like Pantera, Judas Priest, Slayer and Death, and describe their own music as “Raging Melodic Death/Trash/Speed/Black Metal.”

The record’s opener, “Defeat,” is easily recognizable due to the distinctive drum groove and guitar-keyboard concurrence, and it soon reveals itself nicely corresponding to the band’s self-description. There can be no doubt that this music is packed with energy and attitude, as well as being tight and groovy.

The following tracks, “Bitter Metallic Side” and “Time Takes Us All,” both follow in the same path with melodic riffing and extremely full sound –- keyboardist Marco Sneck, who joined after the 2003 release, Swampsong, contributes with fulfilling orchestrations and a couple of engulfing solos to strengthen this impression.

“To The Gallows” keeps the groove going, with an utterly fearsome chorus and some of the guitar work bearing resemblances to Bal-Sagotish harmonies. Suddenly, without pretext whatsoever, the mood gets a lot kalmah with the acoustic segue “Svieri Doroga,” showing yet another side of the band.

The following title track establishes itself as perhaps the top song on the album alongside “Defeat,” as another example of extremely accomplished Metal. No radical mood swings are discovered in the next tracks, even if the intros of “With Terminal Intensity” and “Man Of The King” lack the instant catchy throbbing of the earlier tracks.

The Black Metal influences are easily perceivable in the solos on the latter, and they are by no means bad tracks. Still, if one were to complain about this album (and once heard, you really won’t want to) questions may have to be asked concerning the lack of variety. The tracks one the last half of the album start to sound alike after a while, something also relevant to “The Groan Of Wind” — albeit solid tracks, the melodies somehow lack the spirit shown earlier and quite simply wear thin.

However, the two final tracks drop-kick any doubt that has risen and give it a slow and painful demise in the Great Swamp of Kalmah. “Mindrust” sparkles with creativity and energy, and yet again the guitar-keyboard cooperation are mind-blowing. This is an extremely powerful track, and rockets right to the top of the album –- its position is challenged seriously by the ending “One From The Stands” (whose chord progression reminds suspiciously of Nightwish’s “Kinslayer,” another track proving that swamps may be wet, but that swamp Metal by no means is soggy. The bass riff on the intro is heavy enough to shake every inch of mire from Suomi to Amazonas, and brings a worthy end to a commendable album.

Throughout the record, Janne Kusmin’s drums and Timo Lehtinen’s bass provide a tight foundation for guitarist Antti Kokko to season with great riffs and, as mentioned, awe-inspiring collaboration with Marco Sneck’s keyboards – the latter making a standout performance. Pekka Kokko’s vocals bring the intense, raging edge that the material craves, and the music really makes your mind wander to a Swamplord’s grim domain. As Kalmah’s fourth studio album The Black Waltz is said to be a return to the classic Kalmah sound, and is a must-have if you favor melodic, dark and intense Heavy Metal.