Dive into the electrifying world of Finnish metal where classic sounds refuse to fade away—Suotana's Ounas II is a thrilling reminder that some musical legacies are just too powerful to ignore!
Picture this: back in the late '90s and early 2000s, the metal scene exploded with a fusion of melodic death metal and power metal that captured hearts worldwide. Think of iconic bands like Children of Bodom (for their blistering riffs and symphonic flair), Kalmah (with their atmospheric swampy vibes), and Norther, who brought that raw energy to the forefront. Even bands like Ensiferum added a folk twist, or Catamenia brought in darker, blackened elements. And here's the part most people miss—this genre didn't just vanish; it evolved and persisted. Suotana is one of those dedicated groups keeping the flame alive, with a backstory that's richer than you might expect. Emerging in the mid-2000s, they waited until 2014 to release their first material, and now, over a decade later, Ounas II marks their fourth full-length album. It seamlessly picks up right where Ounas I left off two years ago, and comparing them side by side, it's clear the band is hitting new heights of prowess.
Ounas II bursts with exceptional songwriting that blends melodic death metal (a style combining aggressive death metal growls with catchy melodies) with power metal's soaring leads and even hints of black metal's darkness, all cooking up in a distinctly Finnish cauldron. Children of Bodom stands out as the primary inspiration, shining through in nearly every track. Co-founders Ville Rautio and Pasi Portaankorva wield their guitars in a classic '80s style, delivering dual-attack solos that dazzle, like in 'Winter Visions' and 'Twilight Stream.' Meanwhile, nods to Stratovarius infuse the frantic, melodic power elements—something I always appreciate for adding that extra punch. The vocals from Tuomo Marttinen are icy and ferocious, echoing the swampy intensity of Kalmah. And let's not forget Tommi Neitola's keyboards, which layer on a symphonic grandeur reminiscent of Children of Bodom, sometimes reaching Wintersun-like epicness without overpowering the mix, as heard in 'The Crowned King of Ancient Forest' and '1473 Ounas.'
But here's where it gets controversial—handling a two-part album concept is no small feat, and Suotana nails it with flying colors. They've elevated the strengths of Ounas I: the production feels broader and more immersive, the layers of sound explore deeper territories, and the tracks pulse with even more vitality and diversity, evident in songs like 'Foreverland' and 'Twilight Stream.' What's truly remarkable is that Ounas II is denser than its predecessor. At just 39 minutes compared to the first part's 41, it sidesteps that bloated 'extra tracks' vibe often seen in double album setups, allowing the storytelling to breathe and develop fully. Take '1473 Ounas' as a prime example—despite the concise runtime, it flourishes with intricate details. To top it off, mirroring the Summoning cover on the first album, Ounas II closes with a rendition of Children of Bodom's 'Hatebreeder,' serving as either a standout track or a bonus that honors their roots while delivering an explosive finale.
Suotana's journey to this album has been a long one, but oh, how rewarding it's proven. Their compositions are accelerating in speed and skill, amplifying their infectious appeal. In essence, think of Suotana as the melodic death metal counterpart to Moonlight Sorcery's masterful power/black metal blend—both excel with massive riffs, melodic fury, and keyboard splendor applied just right. While experiencing them back-to-back is a blast, Ounas II stands firmly on its own as a cohesive triumph, a true testament to their growth. I'm genuinely eager for what these imaginative sorcerers conjure up next, whether it's another Ounas chapter or something entirely new.
Tracks to Check Out: 'Winter Visions,' 'Twilight Stream,' 'The Crowned King of Ancient Forest,' and don't skip the stellar cover of 'Hatebreeder.'
Now, what do you think? Is reviving older metal styles a bold move in today's scene, or does it risk feeling outdated? Do you agree that Suotana's density makes Ounas II a superior sequel, or is there merit in longer albums with more padding? Share your thoughts in the comments—I'm curious to hear if this sparks any debates!
