The latest band to get the re-issue treatment is Finland’s very own Kiuas. For those of you who don't know them, (which would be most of you, I'm guessing), these plucky Finns were formed way back in 2000, but only issued their first platter in 2004. Releasing three albums in four years (not counting their first MCD) is pretty indicative of their work ethic, it would seem, and so to tie in with the impending loosing of “The New Dark Age” on the world, it seems that Spinefarm have decided that this would be the right time to unleash their previous works. I had the pleasure of watching Kiuas at this years Bloodstock festival, where they gave an impressive account of themselves, particularly as they weren't really the kind of band that I would ordinarily listen to.
Their blurb states that Kiuas (pronounced Key-wass, for the language pedants among you) are epic metallers; let me say right off the bat that if you're expecting some kind of Candlemass or Solitude Aeturnus sound, you're going to be sorely disappointed! However, approach this band with an open mind and there's really something for everyone. Borne from the spirit of pure heavy metal, there's a smörgåsbord approach to the ingredients. A little power metal, (OK, a fair bit of power metal – in the Primal Fear vein), some extreme metal influences in particular with the rhythm section, and tasteful use of keyboards. Above all, though, are the melodies. Kiuas are all about the melodies, baby.
First off to get the reissue treatment is “The Spirit of Ukko”. Their debut full-lengther, coming off the back of two well received demos, it's easy now with hindsight to hear what all the fuss was about back in 2005. All the bases were covered here – from the tasteful semi-balladry of “No More Sleep to Me”, to the extreme tinged “Warrior Soul”, resplendent though it was in double bass led drums and rumbling bass. Given that this is the first time I have ever heard Kiuas in recorded form, it's nice to know that their live energy was successfully captured in the lively, punchy production and tight, accomplished song writing. Sure, there are some sections where the keyboards are a little high in the mix, but they never fall into that “tacked on” sound that so many of their power metal peers fall into it. This is extremely catchy stuff; after the second listen, “Across the Snows” was being hummed at work, much to the annoyance of my co-workers. Well, I'm the boss at work, so my co-workers can just like it or lump it! Just to sweeten the deal, Spinefarm have lobbed on the none-too-shabby “Winter In June” as a UK exclusive bonus track.
“Reformation” just a year after their debut album, saw the band exploring greater success. Having toured the far-east by this point, they found this record catapulted into their national top thirty. In some respects, this is actually a better album than its predecessor. There's an evident hunger in the music and a slightly more aggressive and extreme tone to the music. The ambitious “Race With The Falcons”, at times orchestral in scope, but also laced with extreme rhythm sections and classical metal soloing signposts this as their true “breakthrough” album. I have to mention the stand out performance by vocalist Ilja, who dares to growl and expose his rougher vocal side on this album. There's also further room for experimentation with different instruments, alongside tasteful music-only arrangement on the soothing “Child of Cimmeria”. That gives way to the heavier-than-thou bombast of “Black Winged Goddess”, which sounds kind of how I imagine Rob Halford would approach incorporating death metal elements into classic metal. It's really closer “Reformation” that showcases the progressive elements of the album with massive sounding choral sections alongside soaring guitars and synths. Again, Spinefarm has included a bonus track, this time a cover of “Hunting Girl”, originally by English flute-wielding beardy bastards Jethro Tull. It's an interesting cover, with some excellent flute-based-action, and it doesn't detract from the original album.
“The New Dark Age” is the newest release, featuring a faux-woodcut style cover picturing the band in cartoon form bursting forth from the heavens carrying weapons and threatening great destruction onto the scene below. Once more, it seems that Kiuas have ramped up everything for this release, seemingly determined to outdo everything they have done before. You want heavier moments? You got 'em. You want more melodies? You got 'em. You want more hooks? They're here. Seriously, it seems as if the Northern warriors are determined to outdo themselves at every turn. Opener “The Decaying Doctrine” has the most insanely memorable chorus since I heard ring-a-bloody-roses at nursery! Everything here is Kiuas set to 11. “Kiuas War Anthem” does just what it says on the tin, while “Of Sacrifice, Loss and Reward” is a massive track, expansive, moody and with a guitar sound crunchier than anything you are likely to hear this year. Sure, the clean vocals might take a bit of getting used to if you (like me) are more used to the extreme side of life, but here, perhaps more than anywhere, Kiuas show that melody doesn't have to be a dirty word.
www.myspace.com/kiuasweb
www.kiuas.net
