Liverpool Sound and Vision Rating 8.5/10
From such dreams, reality is created…and ambition to bring about the seemingly impossible must never be ignored.
The announcement of seven albums inside three months from acclaimed Finnish band Lordi might have struck fear in the hearts of the music lover, for how many bands have even gifted the world two in a year and seen the bottom fall out of the public’s affection; and when a certain Neo-Punk from the United States of America produced three inside a couple of months back in 2012 the fall out was heard across the world, forever putting the idea of multiple releases in such a short space of time out of the public domain.
Nothing lasts forever, not even inertia and lack of spirit, and for that it requires more than just a set of good tunes and belief, it has to have the compelling argument of forceful attitude and unfettered confidence that it can be realised, carried off as if by something verging on the mystical, on the absolute wavelengths of industry.
The second of seven albums, themselves separate but part of much larger theme at work, Lordi’s Abracadaver not only stands up to the inspection that the lover will cast their eye over, but to the greater public who might, surely will find themselves being surround by as the exploration of certainty takes place.
The point of art is not only be a mirror of the soul of humanity, but it is there to challenge the boundaries we impose on others as well as ourselves, to damn the way we think because of past experiences and the dictated view of inertia and acceptance. Lordi, arguably, hold that as mantra, not just in style and delivery, but across the concept of their existence; to win The Eurovision Song Contest, a competition that on the face of it no self-respecting Metal fan would expose themselves to, was only the first step in what has become a legendary act of defiance, of will, and groove.
Abracadaver is an idea made real, a species of outlandish belief that it carries with its own certificate of trust, an album, a collection of songs and raw, primal joy that is stamped with a grade that shows its beauty behind the mask with efficiency and cool.
The body of detail that goes into tracks such as Horricone, Devilium, Rejected, Raging At Tomorrow, Beast Of Both Worlds, I’m Sorry I’m Not Sorry and the class act of Evil, sees Lordi continue in their passionate, ardent, creatively obsessive belief that anything, and all things are possible, and that they can be done more than well, they can be seismic, game changing, they can be revolutionary.
From such dreams, reality is created…and it shows with honour in the pulse driving beast that is Abracadaver.
Ian D. Hall