Album Review

Somewhere in the cold expanses of Finland, in the city of Kouvola, among pines and snowy wastelands, in 2016, a band with a name echoing an ancient saga — Thy Kingdom Will Burn — emerged, offering listeners their third full-length release — «The Loss and Redemption». Recorded under the meticulous guidance of Juho Rähä — a master whose work with Before the Dawn and Swallow the Sun has already become legendary — at Inka Studio. Their third album, «The Loss and Redemption», is a holistic artistic statement where rock-infused drama, the bitterness of loss, and faint glimmers of hope intertwine into a singular sonic tapestry. The album acts as a mirror, reflecting not only the harshness of Finnish landscapes but also the inner turmoil of modern humanity, torn between alienation and the yearning for redemption.

Thy Kingdom Will Burn (TKWB) long lingered in the shadows of more renowned genre peers — Insomnium, Omnium Gatherum, Dark Tranquillity. Yet by 2021, with two studio albums released, the collective asserted itself as a serious contender. «The Loss and Redemption» became their third stride toward recognition. If their earlier works could be described as “reliable yet predictable melodic death”, the new album is a bold leap into the unknown.

• Sound Palette: Between Darkness and Melody

The opening track, «Perpetual Void», is the perfect prologue to the album. It begins with a guitar melody that seems to flow through frosty air, gradually thickening in density. The growling vocals of Sami Kujala (vocals, guitar) burst forth like a gust of wind sweeping away all in its path. Yet within a minute, the tempo slows, yielding to a bass solo and clean vocals reminiscent of My Dying Bride. This contrast — the album’s hallmark — sees aggression and vulnerability, speed and meditativeness coexisting in fragile equilibrium.
The atmosphere of «Obscure Existence» is breathtaking. Delicate folk melodies, like invisible threads, intertwine with brutal, hammer-strike rhythms, creating an immersive experience where every guitar chord feels like a step into a mysterious, long-forgotten past steeped in unsolved secrets.
In contrast, «Martyrs of Killing Floor» is a whirlwind of progressive tempo and mood shifts, chaos barely held in check. Piano arrangements in «Forever in Dark» and orchestral layers in «Escape from Solitude» add depth, transforming tracks into mini-symphonies.
Not all is seamless: «Suffering Sky» overindulges in epic grandeur, its six-minute runtime — despite a striking guitar solo mid-track — growing tedious by the finale, disrupting the album’s flow.
«They Have Come» hints at neoclassicism, while «Dreams of Calamity» incorporates black metal elements. This diversity makes the album a living, pulsating organism that grips the listener’s attention.
«To End of Times» and «Sydānyö», with their crushing riffs and expressive melodic lines, symbolize a final farewell, the music reaching near-epic scales. The album’s story concludes not at a climax, but with quiet sorrow and an acknowledgment of inevitable change.

• Lyrics: Songs of Darkness and Flickering Light

«Perpetual Void» speaks of an endless search for meaning, «Forever in Dark» — of embracing solitude, while the closing «Sydänyö» resonates as a requiem for lost illusions. Not all lyrics land equally: «Martyrs of Killing Floor» suffers from excessive abstraction, with lines like “We are martyrs of the killing floor, drinking from the chalice of eternal gloom” provoking bewilderment rather than empathy. Overall, the album grapples with existential themes, each song a chapter in a book about the human soul — fragile yet unyielding.

• Weaknesses: Steps into the Unknown

Even this vibrant canvas has shadows. Some tracks buckle under excessive ambition: «Martyrs of Killing Floor» promises much but drowns in jarring mood shifts and odd lyrical choices, leaving a sense of incompleteness. «Suffering Sky» overextends with a repetitive chorus that wears thin by its end. Transitions between harsh growls and clean vocals occasionally feel abrupt, like an unpolished blade — a potential turnoff for those seeking fluidity. These are not fatal flaws but reminders: the band must still perfect the balance between chaos and harmony.

• Production: Sonic Alchemy

The engineering work of Juho Rähä deserves special mention. The album sounds massive yet uncluttered: every piano note, every cymbal strike rings clear. Orchestral layers in «Escape from Solitude» shine — never overpowering, they accentuate guitar lines, creating a three-dimensional effect. Even in densest moments, like «They Have Come», the mix remains transparent, highlighting bassist Jane Ruuskanen’s playing.
Yet production is a double-edged sword. Some tracks («Suffering Sky», «Dreams of Calamity») would benefit from tighter editing. At nearly 50 minutes, the album’s runtime tests attention spans by the end. Trimming two to three minutes might have preserved tension.

• Verdict: A Step Toward Greatness

«The Loss and Redemption» is a declaration of intent. It merges the fervor of melodic death metal with genre-defying experimentation. Yes, there are rough edges — but they underscore the band’s ambition to transcend conventions. This is a journey through the soul’s dark forests, where every chord seeks light in endless night. For fans of Insomnium, Dark Tranquillity, and those who cherish music with sincerity and depth, this album is a treasure. Thy Kingdom Will Burn has not yet reached the summit, but with «The Loss and Redemption», they’ve made a mighty surge toward it. Press play, close your eyes, and let the music carry you to where anguish transforms into art.