Mikko Karmila — The Man Behind the Sound That Took Finnish Metal to the World

By Flavio Borges

There are musicians who become part of history because they wrote the songs. Others because they walked onto a stage and turned their presence into the soundtrack of a generation. And then there are those who work far from the spotlight, yet whose contribution can be heard on hundreds of records.

Mikko Karmila belonged to that rare last category.

Producer, recording engineer and, above all, one of the most respected mixing engineers in the history of European heavy metal, Karmila died on September 9, 2026, at the age of 62. Born in Lohja, Finland, in 1964, he spent more than four decades behind recording consoles and left his mark — directly or indirectly — on more than 300 albums.

For those unfamiliar with his name, it is enough to look at some of the records that helped turn Finnish metal into an international phenomenon: Nightwish, Stratovarius, Children of Bodom, Amorphis, Sonata Arctica, Lordi, Waltari, Sentenced, Tarot, Norther, Charon, Kotiteollisuus and Stone, among many others.

Karmila was not necessarily credited as producer on all of these albums. On some, he worked as an engineer; on others, as a mixer, producer, or in several roles at once. But his work was crucial in making that music reach listeners with the power, clarity and definition that would become hallmarks of an entire generation.

The Beginning of a Story That Would Help Change Finnish Metal

Karmila's story began long before Finland became a heavy metal powerhouse.

As a young man, he made rudimentary recordings of his own band on cassette tapes. His fascination with the recording process eventually became a profession, leading him to work with bands emerging from Finland's underground scene.

One of the first major chapters of his career was written alongside Stone, a band that played a fundamental role in the development of Finnish thrash metal.

It was the beginning of a relationship that would later be repeated with many of the country's most important bands: Karmila entered the studio not simply to document what a band was playing, but to help determine how that music should sound on record.

By 1991, his work had already received national recognition. Karmila was named Producer of the Year at the Emma Awards, one of Finland's most important music industry honors.

From that point forward, his career would become increasingly intertwined with the evolution of Finnish heavy music.

Finnvox and the Construction of an Identity

A large part of that story took place at Finnvox Studios in Helsinki, where Karmila became a central figure.

For decades, the studio served as a meeting point for musicians, producers and engineers responsible for some of the most important records in Finnish heavy music.

It was in this environment that an expression often associated with Karmila's work began to emerge: the idea of a distinctive "Finnish sound."

It was never a rigid formula.

Karmila did not make every band sound the same. Quite the opposite. His challenge was to preserve the identity of each group while making sure that guitars, drums, vocals, keyboards and arrangements had enough impact and definition to stand alongside the biggest international productions.

This became particularly important at a time when Finnish heavy metal was beginning to move beyond the country's borders.

And Karmila was right at the center of that transformation.

An Entire Generation Passed Through the Same Room

One of the most fascinating aspects of Karmila's career is that he did not work exclusively with established bands. In many cases, he encountered musicians while they were still developing their identities.

His career therefore became intertwined with the evolution of an entire generation.

Bands that had started out playing small clubs and rehearsing in modest rooms arrived at the studio with ambitions that often exceeded their resources. Someone had to transform their energy, musicianship and songwriting into something capable of surviving the most demanding test of all: the record.

Karmila understood that recording was not simply a photograph of a band playing. It was an interpretation.

A producer and engineer had to decide how much weight a guitar should carry, where the drums should sit, how a vocal should cut through a wall of guitars, and how far a production could be pushed without destroying the musicians' personality.

That technical knowledge, combined with an almost instinctive understanding of heavy music, became one of the defining characteristics of his work.

And it helps explain why so many musicians returned to him years later.

Stratovarius, Nightwish, Children of Bodom: Three Roads to the World

Few professionals were as closely involved in the international rise of Finnish metal as Karmila.

With Stratovarius, his involvement extended across different periods of the band's career, beginning with Dreamspace and continuing through some of its most important releases. Episode, Visions, Destiny and Infinite helped establish a new reference point for European power metal — melodic, fast, grandiose and technically precise.

Karmila worked as producer, engineer and mixer at different stages of that journey.

With Nightwish, his relationship was even more extensive. Karmila mixed Oceanborn, the band's 1998 album that introduced a still-developing group to a much wider international audience.

From there, his collaboration accompanied Nightwish's transformation into one of the biggest metal bands on the planet.

And then there was Children of Bodom.

If Stratovarius helped consolidate Finnish power metal and Nightwish expanded the boundaries of symphonic metal, Children of Bodom represented a new possibility: speed, aggression, virtuosity and keyboard melodies existing within a musical language that refused to fit comfortably into a single category.

Karmila mixed Hatebreeder, Follow the Reaper and Hate Crew Deathroll, and later took on production and engineering duties on albums including Are You Dead Yet?, Blooddrunk, Halo of Blood, I Worship Chaos and Hexed.

The result was one of the most recognizable sounds in European metal at the dawn of the 21st century.

Far More Than Power Metal

It would nevertheless be a mistake to reduce Karmila to melodic metal.

His discography crossed virtually every territory of Finnish heavy music.

He worked with Amorphis, following the band's transformation from its death metal roots into a sophisticated combination of metal, progressive rock and elements drawn from 

Finnish musical tradition.

He worked with Waltari, a band known for challenging stylistic boundaries and blending metal, alternative rock, electronic music and experimental elements.

He was also connected to Tarot, Sentenced, Norther, Charon, Impaled Nazarene, Kalmah, 

Eternal Tears of Sorrow, Lullacry, To/Die/For and Peer Günt, among many others.

And he maintained a long-standing relationship with Kotiteollisuus, becoming something of a trusted man behind the console for the band.

Then there was Lordi, the masked hard rock phenomenon that won the Eurovision Song Contest in 2006, with Karmila involved in several stages of the band's recording career.

This diversity may be the best way to understand his importance:

Karmila did not create a single sound. He helped shape an entire musical landscape.

When the World Started Knocking on the Door

As Finnish metal gained international recognition, Karmila's work began crossing the country's borders as well.

He became involved with important names in German metal, including Avantasia, Edguy and Masterplan.

He worked on Tobias Sammet's first Avantasia releases, The Metal Opera and The Metal Opera Part II, helping shape the sound of a project that brought together some of the most prominent vocalists and musicians in European heavy metal.

His international credits also included artists and bands from other countries, among them the Argentine project Beto Vázquez Infinity, Italy's Novembre, and numerous other European acts.

His influence eventually reached even farther.

In Japan, Karmila became the mixing engineer for Lovebites, one of the most prominent power metal bands to emerge from the country in the past decade.

The band deliberately sought out the experience of the Finnish production school that had helped define the classic European melodic metal sound.

Karmila and mastering engineer Mika Jussila, also closely associated with Finnvox, became an important part of Lovebites' sonic identity.

There is something almost poetic about that.

A professional who had helped define the sound of one generation of Finnish bands was, decades later, being sought out by a new generation of musicians on the other side of the world precisely because they wanted that sound.

The Karmila–Jussila Partnership and the Finnvox School

Perhaps no professional relationship better illustrates the scope of Karmila's work than his partnership with Mika Jussila.

While Karmila often shaped the mix — the stage at which all the elements of a recording must find their place — Jussila handled mastering, the final process through which an album is prepared for release.

Together, they became something of a calling card for Finnish heavy music.

Their work helped establish standards of clarity, power and definition that became associated with heavy music produced in Finland.

But the most interesting part is that this "school" was not born from a manifesto or a deliberate attempt to create a recognizable brand.

It was born from the work itself.

Record after record.

Band after band.

Year after year.

By the time the world realized that something extraordinary was happening in Finnish heavy music, Karmila and Jussila had already spent years making sure that it sounded as good as it possibly could.

The Producer Who Never Needed to Outshine the Band

There is something particularly human about Karmila's career.

He was never a figure built for the spotlight. His territory was the recording room, the mixing console, the studio monitors and the long hours spent trying to find the balance between what a band played and what the listener would ultimately hear.

That position behind the scenes may explain why his name remains far less familiar to the general public than those of the musicians he worked with.

But the record industry is also built by people like him.

A great engineer can make a drum kit sound bigger. He can separate two guitars that originally occupy the same sonic space. He can make a vocal cut through a wall of guitars. 

He can turn a good recording into a memorable album.

And, perhaps most importantly, he can understand when not to interfere.

That was one of the qualities that made Karmila so sought after.

His signature was not necessarily about making everything sound like Mikko Karmila. It was about discovering how that particular band needed to sound.

More Than 300 Records and a Career That Spanned Generations

Throughout his career, Karmila maintained a personal archive of his work. The list eventually surpassed 300 albums, often with him performing more than one role on the same project.

The number itself is impressive, but perhaps it is not the best way to measure his legacy.

What matters more is the names on that list.

Stone, Stratovarius, Nightwish, Amorphis, Children of Bodom, Sonata Arctica, Sentenced, Waltari, Tarot, Lordi, Kotiteollisuus, Avantasia, Edguy, Masterplan, Lovebites.

They represent different generations, different styles and different countries.

Some helped create modern Finnish metal. Others brought European power metal to a new generation. Some helped reshape extreme metal. Others simply turned to Karmila because they knew he understood how to make a heavy band sound powerful, clear and larger than life.

The Man Behind the Music

Perhaps the best way to explain Mikko Karmila's importance is to imagine what might have happened if, between the late 1990s and early 2000s, all those records had reached the market with less powerful productions.

It is impossible to know.

But we do know that Karmila was there when a generation of Finnish musicians began transforming ideas, riffs and melodies developed in rehearsal rooms into records capable of crossing borders.

The musicians wrote the songs.

The musicians walked onto the stage.

The musicians won the audience.

But Karmila helped make sure that what happened inside a rehearsal room could be heard anywhere in the world.

That is the greatness of professionals like him.

Mikko Karmila was not a rock star.

He never needed to be.

His work is somewhere else: in the records.

And when the history of Finnish heavy metal is told decades from now, his name should appear not merely in the credits, but among the professionals who helped make possible what today seems almost inevitable:

Finland becoming one of the world's great powers in heavy music.

Karmila died at 62, but his work continues to be heard every day by millions of listeners.

Perhaps that is the finest legacy a music professional can leave behind.

As long as these records keep playing, Mikko Karmila will keep working.

Mikko Karmila — O homem por trás do som que levou o metal finlandês ao mundo (Also In English)

Por Flavio Borges

Há músicos que entram para a história porque escreveram canções. Outros, porque subiram aos palcos e transformaram sua presença em parte da memória de uma geração. E há aqueles que trabalham longe dos holofotes, mas cuja contribuição pode ser ouvida em centenas de discos. Mikko Karmila pertence a essa última e rara categoria.

Produtor, engenheiro de gravação e, sobretudo, um dos mais respeitados engenheiros de mixagem da história do heavy metal europeu, Karmila morreu em 9 de setembro de 2026, aos 62 anos. Nascido em Lohja, na Finlândia, em 1964, ele passou mais de quatro décadas atrás das mesas de gravação e deixou sua assinatura — direta ou indiretamente — em mais de 300 álbuns.

Para quem não conhece seu nome, basta olhar para alguns dos discos que ajudaram a transformar o metal finlandês em um fenômeno internacional: Nightwish, Stratovarius, Children of Bodom, Amorphis, Sonata Arctica, Lordi, Waltari, Sentenced, Tarot, Norther, Charon, Kotiteollisuus e Stone, entre muitos outros. Karmila não estava necessariamente creditado como produtor em todos esses trabalhos — em alguns foi engenheiro, em outros mixer, produtor ou acumulou várias funções —, mas seu trabalho foi decisivo para que aquela música chegasse ao público com a força e a definição que se tornariam características de uma geração inteira.

O começo de uma história que ajudaria a mudar o metal finlandês

A história de Karmila começou muito antes de a Finlândia se tornar uma potência do heavy metal. Ainda jovem, ele fazia gravações rudimentares de sua própria banda em fitas cassete. O interesse pelo processo de gravação acabou falando mais alto, e ele passou a trabalhar profissionalmente com grupos da cena finlandesa.

Um de seus primeiros grandes capítulos foi escrito ao lado do Stone, banda fundamental para o desenvolvimento do thrash metal na Finlândia. Era o começo de uma relação que posteriormente se repetiria com algumas das principais bandas do país: Karmila entrava no estúdio não apenas para registrar uma banda, mas para ajudá-la a descobrir como aquela música deveria soar em um disco.

Em 1991, seu trabalho já havia alcançado reconhecimento nacional: Karmila recebeu o prêmio de Produtor do Ano no Emma Awards, uma das principais premiações da música finlandesa.

A partir daí, sua trajetória se confundiria cada vez mais com a própria evolução do rock pesado finlandês.

Finnvox e a construção de uma identidade

Grande parte dessa história passa pelo Finnvox Studios, em Helsinque, onde Karmila se tornou uma figura central. Durante décadas, o estúdio foi uma espécie de ponto de encontro para músicos, produtores e engenheiros responsáveis por alguns dos discos mais importantes da música pesada finlandesa.

É nesse contexto que surge uma expressão frequentemente associada ao trabalho de Karmila: o chamado "som finlandês".

Não se tratava de uma fórmula rígida. Karmila não fazia todas as bandas soarem iguais. Pelo contrário. O desafio estava justamente em preservar a personalidade de cada grupo e, ao mesmo tempo, fazer com que guitarras, bateria, vocais, teclados e arranjos tivessem impacto e definição suficientes para competir com as grandes produções internacionais.

Foi uma tarefa especialmente importante em uma época em que o heavy metal finlandês estava deixando de ser um fenômeno essencialmente doméstico.

E Karmila estava no centro dessa transformação.

Uma geração inteira passou pela mesma sala

Existe uma característica particularmente fascinante na carreira de Karmila: ele não trabalhou apenas com grandes bandas já estabelecidas. Em muitos casos, encontrou músicos quando eles ainda estavam construindo sua identidade.

Isso significa que seu trabalho acompanhou a evolução de uma geração inteira.

Bandas que começaram em pequenos clubes e salas de ensaio chegaram ao estúdio com ambições muito maiores do que sua estrutura permitia. Era necessário transformar energia, técnica e composição em algo que pudesse sobreviver ao teste mais difícil de todos: o disco.

Karmila sabia que uma gravação não era simplesmente uma fotografia de uma banda tocando. Era uma interpretação.

O produtor e o engenheiro precisavam decidir quanto peso uma guitarra deveria ter, onde a bateria deveria ocupar espaço, como um vocal deveria atravessar a mixagem e até onde seria possível levar uma produção sem eliminar a personalidade dos músicos.

Esse conhecimento técnico, aliado a uma compreensão quase intuitiva da música pesada, tornou-se uma das marcas de seu trabalho.

E explica por que tantos músicos voltaram a procurá-lo anos depois.

Stratovarius, Nightwish, Children of Bodom: três caminhos para o mundo

Poucos profissionais estiveram tão presentes na internacionalização do metal finlandês quanto Karmila.

Com o Stratovarius, sua participação atravessou diferentes fases da carreira da banda, começando em Dreamspace e passando por alguns de seus trabalhos mais importantes. Episode, Visions, Destiny e Infinite ajudaram a estabelecer uma nova referência para o power metal europeu — melódico, veloz, grandioso e tecnicamente impecável.

Karmila foi produtor, engenheiro e mixer em diferentes momentos dessa trajetória.

Com o Nightwish, sua relação foi ainda mais longa. Karmila mixou Oceanborn, álbum de 1998 que apresentou uma banda ainda em formação a um público internacional muito maior. A partir daí, sua colaboração acompanhou a transformação do grupo de Tuomas Holopainen em uma das maiores bandas de metal do planeta.

E então veio o Children of Bodom.

Se o Stratovarius ajudou a consolidar o power metal finlandês e o Nightwish ampliou as fronteiras do metal sinfônico, o Children of Bodom representou uma nova possibilidade: velocidade, agressividade, virtuosismo e melodias de teclado convivendo dentro de uma linguagem que não cabia confortavelmente em uma única classificação.

Karmila mixou Hatebreeder, Follow the Reaper e Hate Crew Deathroll, e posteriormente assumiu também funções de produção e engenharia em trabalhos como Are You Dead Yet?, Blooddrunk, Halo of Blood, I Worship Chaos e Hexed.

O resultado foi um dos sons mais reconhecíveis do metal europeu do início do século XXI.

Muito além do power metal

Seria, entretanto, um erro reduzir Karmila ao metal melódico.

Sua discografia atravessa praticamente todos os territórios da música pesada finlandesa. Trabalhou com o Amorphis, acompanhando a transformação da banda desde suas raízes death metal até sua sofisticada combinação de metal, rock progressivo e elementos da tradição musical finlandesa.

Trabalhou com o Waltari, grupo conhecido por desafiar fronteiras estilísticas e misturar metal, rock alternativo, música eletrônica e elementos experimentais.

Também esteve ligado a Tarot, Sentenced, Norther, Charon, Impaled Nazarene, Kalmah, Eternal Tears of Sorrow, Lullacry, To/Die/For, Peer Günt, Don Huonot, Popeda e manteve uma longa relação com o Kotiteollisuus, banda da qual se tornou uma espécie de homem de confiança no estúdio.

E há ainda o Lordi, vencedor do Eurovision de 2006, com quem Karmila trabalhou em diferentes momentos.

Essa diversidade talvez seja uma das melhores maneiras de entender sua importância: Karmila não construiu um único som; ajudou a construir uma paisagem inteira.

Quando o mundo começou a bater à porta

À medida que o metal finlandês ganhou projeção internacional, o trabalho de Karmila também ultrapassou as fronteiras do país.

Ele esteve envolvido com importantes nomes do metal alemão, incluindo Avantasia, Edguy e Masterplan. Participou dos primeiros trabalhos do projeto de Tobias Sammet, The Metal Opera e The Metal Opera Part II, ajudando a definir o som de um projeto que reunia alguns dos principais vocalistas e músicos do heavy metal europeu.

Também trabalhou com artistas e bandas de outros países, entre eles o projeto argentino Beto Vázquez Infinity, o italiano Novembre e diversos grupos europeus.

Sua influência chegou ainda mais longe.

No Japão, tornou-se o responsável pela mixagem dos trabalhos do Lovebites, uma das mais importantes bandas japonesas de power metal surgidas na última década. O grupo buscou justamente na Finlândia a experiência que havia ajudado a construir o som clássico do metal melódico europeu.

Karmila e o engenheiro de mastering Mika Jussila, também ligado ao Finnvox, tornaram-se parte fundamental da identidade sonora da banda.

É uma ironia interessante: um profissional que ajudou a definir o som de uma geração de bandas finlandesas acabou sendo procurado décadas depois por uma nova geração de músicos do outro lado do mundo que queria justamente aquele som.

A dupla Karmila–Jussila e a “escola Finnvox”

Talvez nenhum outro relacionamento profissional ajude tanto a explicar a dimensão de seu trabalho quanto sua parceria com Mika Jussila.

Enquanto Karmila frequentemente construía a mixagem — o momento em que todos os elementos de uma gravação precisam encontrar seu lugar —, Jussila assumia o mastering, a etapa final que preparava o álbum para chegar ao público.

A combinação dos dois se tornou uma espécie de cartão de visitas da produção pesada finlandesa.

O resultado ajudou a estabelecer padrões de clareza, potência e definição que passaram a ser associados à música pesada produzida na Finlândia.

Mas o mais interessante é que essa "escola" não nasceu de um manifesto estético ou de uma tentativa deliberada de criar uma marca.

Ela nasceu do trabalho.

Disco após disco. Banda após banda. Ano após ano.

Quando o mundo percebeu que havia algo especial acontecendo na música pesada finlandesa, Karmila e Jussila já estavam há muito tempo trabalhando para que aquilo soasse da melhor maneira possível.

O produtor que não queria aparecer mais do que a banda

Existe algo de particularmente humano na trajetória de Karmila.

Ele nunca foi uma figura construída para os holofotes. Seu território era a sala de gravação, a mesa de mixagem, os monitores de estúdio e as longas horas tentando encontrar o equilíbrio entre o que uma banda tocava e aquilo que o ouvinte finalmente escutaria.

Essa posição de bastidor talvez explique por que seu nome é muito menos conhecido pelo grande público do que os dos músicos com quem trabalhou.

Mas a indústria fonográfica é feita também dessas pessoas.

Um grande engenheiro pode fazer uma bateria parecer maior. Pode separar duas guitarras que originalmente ocupam o mesmo espaço. Pode fazer um vocal atravessar uma parede de guitarras. Pode transformar uma boa gravação em um disco memorável.

E pode, sobretudo, entender quando não deve interferir.

Essa era uma das características que fizeram de Karmila um profissional tão procurado. Sua assinatura não estava necessariamente em fazer tudo soar como Mikko Karmila, mas em descobrir como aquela determinada banda deveria soar.

Mais de 300 discos e uma carreira que atravessou gerações

Ao longo da carreira, Karmila manteve um arquivo pessoal de seus trabalhos. A lista ultrapassava 300 álbuns, muitas vezes com mais de uma função exercida no mesmo projeto.

Esse número impressiona, mas talvez não seja a melhor maneira de medir seu legado.

Mais importante é observar os nomes que aparecem nessa lista.

Stone, Stratovarius, Nightwish, Amorphis, Children of Bodom, Sonata Arctica, Sentenced, Waltari, Tarot, Lordi, Kotiteollisuus, Avantasia, Edguy, Masterplan, Lovebites.

São bandas que representam diferentes gerações, diferentes estilos e diferentes países.

Algumas ajudaram a criar o metal finlandês moderno. Outras levaram o power metal europeu a uma nova geração. Algumas ajudaram a renovar o metal extremo. Outras simplesmente procuraram em Karmila a experiência de alguém que sabia como fazer uma banda pesada soar grande.

O homem por trás da música

Talvez a melhor maneira de explicar a importância de Mikko Karmila seja imaginar o que aconteceria se, entre o final dos anos 1990 e o início dos anos 2000, todos aqueles discos tivessem chegado ao mercado com produções menos impactantes.

É impossível saber.

Mas é possível afirmar que Karmila estava lá quando uma geração de músicos finlandeses passou a transformar ideias, riffs e melodias criadas em salas de ensaio em discos capazes de atravessar fronteiras.

Os músicos escreveram as músicas.

Os músicos subiram ao palco.

Os músicos conquistaram o público.

Mas Karmila ajudou a fazer com que aquilo que acontecia dentro de uma sala de ensaio pudesse ser ouvido em qualquer lugar do mundo.

Essa é a grandeza de profissionais como ele.

Mikko Karmila não foi uma estrela do rock. Não precisou ser.

Sua obra está em outro lugar: nos discos.

E quando a história do heavy metal finlandês for contada daqui a algumas décadas, seu nome deverá aparecer não apenas nos créditos, mas entre os profissionais que ajudaram a tornar possível aquilo que hoje parece quase natural: a Finlândia como uma das grandes potências mundiais da música pesada.

Karmila morreu aos 62 anos, mas seu trabalho continua sendo ouvido diariamente por milhões de pessoas. Talvez esse seja o destino mais bonito que um profissional de música possa desejar.

Enquanto esses discos continuarem tocando, Mikko Karmila continuará trabalhando.

Behemoth: Uma Viagem Pelas Raízes da Besta (Also In English)

Shinigami Records (Nac.) / Nuclear Blast Records (Imp.)

Por Michelle F. Santana - @mii.santanna

Confesso que gosto quando uma banda consegue olhar para o próprio passado sem ficar presa a ele. Foi exatamente essa sensação que tive ouvindo I, Scvlptor, novo trabalho do Behemoth, lançado em 4 de setembro de 2026.

Com oito faixas e pouco menos de 38 minutos, o disco tem uma proposta diferente de um álbum tradicional. Ele mistura músicas novas, releituras de antigas composições e covers e, talvez por isso, tenha para mim um pouco de “cara de EP”. É um trabalho mais direto, sem aquela obrigação de ser “o próximo grande álbum” da banda.

Para quem ainda não conhece o Behemoth, a banda foi formada em Gdańsk, na Polônia, em 1991, por Nergal, começando sua trajetória dentro do Black Metal. Com o passar dos anos, incorporou cada vez mais elementos do Death Metal até chegar à sonoridade pesada e grandiosa que conhecemos hoje. Atualmente, Nergal assume os vocais e guitarras, ao lado de Seth nas guitarras, Orion no baixo e Inferno na bateria.

E talvez I, Scvlptor seja justamente uma oportunidade de olhar para toda essa história de uma vez.

Esculpindo o próprio caminho

O título já dá uma pista importante sobre o conceito do disco. Scvlptor é uma forma estilizada de escrever “Sculptor”, ou “escultor”. A troca do “U” pelo “V” remete visualmente às antigas inscrições em latim, criando aquele aspecto arcaico e sombrio tão ligado ao universo do Black Metal.

Segundo Nergal, o conceito gira em torno da autoescultura: moldar a si mesmo, enfrentar a morte, quebrar limites e continuar evoluindo. O martelo e a pedra aparecem como metáforas desse processo de transformação pessoal.

E foi aí que minha interpretação foi um pouco além.

Para mim, I, Scvlptor também funciona como uma espécie de auto-homenagem. Não apenas ao Behemoth, mas aos próprios “escultores” que ajudaram a construir o Black Metal e que, de alguma maneira, também ajudaram a moldar a banda.

É como se Nergal estivesse olhando para a pedra que vem esculpindo há mais de três décadas e reconhecendo quem começou a dar forma a ela muito antes.

A velha besta com novas ferramentas

Musicalmente, não espere uma grande reinvenção do Behemoth. E acho que nem era essa a proposta.

Nergal continua explorando diferentes formas de vocais extremos, alternando entre guturais profundos, vocais rasgados e ataques mais secos. O interessante é que essas técnicas acompanham a interpretação e ajudam a construir a atmosfera de cada música.

Nas guitarras, Nergal e Seth fazem uma ponte interessante entre o Black Metal dos primeiros anos e o som atual do Behemoth. Riffs mais crus e sombrios convivem com melodias épicas e uma produção muito mais pesada e definida.

Inferno continua sendo um monstro na bateria. Os blast beats estão lá, rápidos e precisos, mas ele também trabalha muito bem as mudanças de ritmo e dinâmica. Orion completa essa base com um baixo que dá bastante corpo ao som.

A produção segue moderna e pesada. Jens Bogren ficou responsável pela mixagem e masterização, enquanto Bartłomiej Rogalewicz cuidou da arte e do design. O resultado é interessante porque as músicas antigas ganham uma cara atual sem perder totalmente aquilo que fazia delas músicas de outra época.

I, Scvlptor*

A faixa-título é um ótimo começo. “I, Scvlptor” traz um Black Metal épico, sombrio e cheio de atmosfera. As guitarras criam uma sensação quase monumental, enquanto Inferno mantém tudo em movimento.

Mas o que mais me chamou atenção foi a interpretação de Nergal. Os vocais não estão ali apenas para deixar a música mais pesada; eles ajudam a contar a história e dão à faixa uma sensação quase ritualística.

O conceito do escultor aparece muito bem aqui. A música parece estar sendo construída aos poucos, como se cada riff fosse mais uma camada retirada ou acrescentada à pedra.

Rise of the Blackstorm of Evil

Aqui começa uma viagem ainda maior pelo passado.

“Rise of the Blackstorm of Evil” foi originalmente lançada em 1992, durante a fase mais clássica de Black Metal do Behemoth, na demo The Return of the Northern Moon. A versão de 2026 mantém a essência da composição, mas recebe nova produção, arranjos e a experiência de uma banda que percorreu um caminho enorme desde então.

A atmosfera continua sombria e agressiva, mas a interpretação de Nergal traz uma maturidade diferente. É quase como ouvir dois Behemoths conversando: o jovem, ainda descobrindo seu caminho, e o gigante que ele se tornou.

Begotten

“Begotten” foi uma surpresa muito boa para mim.

A música foi composta durante as sessões de The Shit Ov God, mas acabou ficando de fora daquele álbum. Agora ganha espaço em I, Scvlptor e, talvez, tenha encontrado seu lugar certo.

Ela tem uma atmosfera diferente, com alguns elementos que fogem do que esperamos do Behemoth, mas sem perder sua identidade. A produção está excelente e deixa esses detalhes muito mais claros.

É aquela música que poderia ter continuado esquecida em algum arquivo, mas ganhou uma segunda chance — e funcionou muito bem.

In Thy Pandemaeternum

Essa faixa tem um peso histórico enorme dentro da carreira do Behemoth.

“In Thy Pandemaeternum” apareceu originalmente em Pandemonic Incantations, de 1998, um álbum fundamental para entender a transformação da banda. Foi nesse período que o Behemoth começou a deixar para trás o Black Metal mais tradicional e caminhar cada vez mais para o Death Metal, chegando posteriormente ao Blackened Death Metal que se tornou sua marca.

Ouvir as versões de 1998 e 2026 é perceber claramente essa diferença. A composição continua reconhecível, mas agora temos uma produção muito mais limpa, pesada e moderna.

Colocar “In Thy Pandemaeternum” no mesmo disco de “Rise of the Blackstorm of Evil” foi uma escolha certeira. Juntas, elas praticamente contam uma parte da evolução do Behemoth.

In League With Satan

E chegamos a uma das homenagens mais claras às raízes do Black Metal.

“In League With Satan”, do Venom, lançada em 1981, está entre as gravações que ajudaram a estabelecer o som e a estética do que viria a ser chamado de Black Metal. O Venom é considerado uma das bandas fundamentais da primeira onda do gênero.

E aqui temos uma participação especial que deixa tudo ainda mais interessante: Shagrath, vocalista do Dimmu Borgir, divide os vocais com Nergal.

A presença de Shagrath cria uma ligação muito legal entre diferentes gerações e estilos do Black Metal. A versão do Behemoth também ganha mais peso que a original, inclusive com guitarras de sete cordas, mas sem perder sua essência simples, suja e provocadora.

É como pegar uma peça clássica e colocar uma armadura.

The Return of Darkness and Evil

Se Venom representa uma das grandes raízes do Black Metal, Bathory é outro nome impossível de ignorar.

“The Return of Darkness and Evil” aparece em uma versão ao vivo e conta com a participação de Sakis Tolis, vocalista e guitarrista do Rotting Christ.

Bathory foi uma das bandas pioneiras da primeira onda do Black Metal e teve enorme influência sobre tudo que veio depois. A música original tem aquela sonoridade crua e agressiva que marcou o início do gênero.

Na versão do Behemoth, ela ganha uma dimensão muito maior. As guitarras estão mais pesadas, a bateria de Inferno dá ainda mais velocidade e a presença de Sakis deixa tudo ainda mais especial.

Por ser uma gravação ao vivo, existe também uma energia diferente. Não é apenas uma homenagem: dá para imaginar essa música funcionando diante de uma plateia.

Um álbum com alma de EP

Se eu tivesse que comparar I, Scvlptor com The Shit Ov God, diria que o novo trabalho parece menos preocupado em fazer uma grande declaração e muito mais interessado em celebrar a própria trajetória.

The Shit Ov God tinha uma proposta mais fechada e uniforme. I, Scvlptor segue outro caminho, misturando músicas novas, material resgatado, releituras e covers. Mesmo assim, tudo parece fazer parte da mesma ideia: revisitar as raízes do Behemoth e do Black Metal sem simplesmente repetir o passado.

E talvez seja justamente isso que deixe a experiência mais leve.

É um álbum, mas tem aquela sensação boa de EP. Você dá o play e, quando percebe, acabou. Não existe excesso e nenhuma faixa parece estar ali apenas para completar o disco.

O Behemoth revisita o passado, mas não fica preso a ele. Venom, Bathory e as primeiras fases da própria banda aparecem como referências importantes, mas passam pelo olhar de uma banda que evoluiu muito desde aqueles primeiros anos. As músicas antigas ganham peso, definição e uma produção moderna, enquanto as novas conversam naturalmente com esse material.

É como voltar para um lugar conhecido depois de muitos anos e enxergá-lo de outra maneira.

No fim, I, Scvlptor não é apenas uma coleção de músicas antigas revisitadas ou uma homenagem aos nomes que vieram antes. Para mim, ele representa o próprio ato de esculpir: pegar aquilo que já existe, preservar algumas partes, quebrar outras e transformar tudo em algo novo.

O Behemoth olha para a pedra que ajudou a construir seu caminho, reconhece os escultores que vieram antes e, usando as ferramentas que possui hoje, dá uma nova forma a essa história.

E talvez seja essa a beleza do disco: olhar para trás sem voltar para o mesmo lugar.

***ENGLISH VERSION***

I have to admit, I like it when a band can look back at its own past without getting stuck there. That’s exactly how I felt listening to I, Scvlptor, Behemoth’s new release, out on September 4, 2026.

With eight tracks and just under 38 minutes, the album takes a slightly different approach from a traditional full-length. It mixes new songs, reworked older material, and covers, and maybe that’s why it feels a little like an EP to me. It’s a more direct record, without the pressure of having to be “the band’s next big album.”

And I think that works in its favor.

For anyone who still doesn’t know Behemoth, the band was formed in Gdańsk, Poland, in 1991 by Nergal, starting out firmly rooted in Black Metal. Over the years, they gradually brought in more and more Death Metal influences, eventually developing the heavy and massive sound they are known for today. The current lineup features Nergal on vocals and guitars, Seth on guitars, Orion on bass, and Inferno on drums.

And perhaps I, Scvlptor is exactly the kind of record that gives us a chance to look at that entire journey at once.

Sculpting Their Own Path

The title itself gives us an important clue about the album’s concept. Scvlptor is a stylized version of “Sculptor.” Replacing the “U” with a “V” visually recalls ancient Latin inscriptions, giving the title that archaic and dark look so closely associated with the Black Metal world.

According to Nergal, the concept revolves around self-sculpting: shaping yourself, facing death, breaking through limitations, and continuing to evolve. The hammer and the stone work as metaphors for this process of personal transformation.

And that’s where my own interpretation goes a little further.

To me, I, Scvlptor also works as a kind of self-tribute. Not only to Behemoth, but to the “sculptors” who helped shape Black Metal and, in their own way, helped shape the band itself.

It feels as if Nergal is looking at the stone he has been carving for more than three decades and acknowledging those who started giving it shape long before him.

The Old Beast With New Tools

Musically, don’t expect a major reinvention of Behemoth. And honestly, I don’t think that was the point.

Nergal continues to explore different extreme vocal styles, moving between deep growls, harsher screams, and sharper attacks. What I find interesting is that these techniques follow the mood of each song and help build its atmosphere.

On guitars, Nergal and Seth create an interesting bridge between the band’s early Black Metal years and Behemoth’s current sound. Rawer, darker riffs sit alongside epic melodies and a much heavier, more defined production.

Inferno remains a monster behind the drums. The blast beats are there, fast and precise, but he also makes great use of changes in rhythm and dynamics. Orion completes the foundation with a bass sound that gives the songs plenty of weight.

The production follows Behemoth’s modern approach, with plenty of clarity and heaviness. Jens Bogren handled the mixing and mastering, while Bartłomiej Rogalewicz took care of the artwork and design. The result is interesting because the older songs gain a modern edge without completely losing what made them sound like products of their own era.

I, Scvlptor

The title track is a great way to start.

“I, Scvlptor” delivers epic, dark, atmospheric Black Metal. The guitars create an almost monumental feeling, while Inferno keeps everything moving.

But what stood out most to me was Nergal’s performance. His vocals aren’t there simply to make the song heavier; they help tell the story and give the track an almost ritualistic feeling.

The sculptor concept also comes through very clearly. The song feels like it is being built piece by piece, as if every riff were another layer being removed from or added to the stone.

Rise of the Blackstorm of Evil

Here we take an even deeper trip into the past.

“Rise of the Blackstorm of Evil” was originally released in 1992, during Behemoth’s classic Black Metal era, on the The Return of the Northern Moon demo. The 2026 version keeps the essence of the original composition, but brings new production, arrangements, and the experience of a band that has traveled an enormous distance since then.

The atmosphere is still dark and aggressive, but Nergal’s performance carries a different kind of maturity. It’s almost like hearing two versions of Behemoth having a conversation: the young band still finding its way, and the giant it eventually became.

Begotten

“Begotten” was a very pleasant surprise for me.

The song was written during the sessions for The Shit Ov God, but ultimately didn’t make it onto that album. Now it finally finds a home on I, Scvlptor — and perhaps this is where it was always meant to be.

It has a different atmosphere, with some elements that step slightly outside what we normally expect from Behemoth, but without losing the band’s identity. The production is excellent and makes those details much easier to appreciate.

It’s the kind of song that could have remained forgotten somewhere in an archive, but instead got a second chance — and it works really well here.

In Thy Pandemaeternum

This track carries huge historical weight within Behemoth’s career.

“In Thy Pandemaeternum” originally appeared on Pandemonic Incantations in 1998, an essential album for understanding the band’s transformation. This was the period when Behemoth began moving away from more traditional Black Metal and increasingly toward Death Metal, eventually developing the Blackened Death Metal sound that became their trademark.

Listening to the 1998 and 2026 versions makes that difference very clear. The composition remains recognizable, but now it has a much cleaner, heavier, and more modern production.

Putting “In Thy Pandemaeternum” on the same record as “Rise of the Blackstorm of Evil” was a great choice. Together, they tell an important part of Behemoth’s evolution.

In League With Satan

And here we get one of the clearest tributes to the roots of Black Metal.

“In League With Satan” by Venom, released in 1981, is among the recordings that helped establish the sound and aesthetics that would become associated with Black Metal. Venom are considered one of the key bands of the genre’s first wave.

And there’s a special guest here who makes things even more interesting: Shagrath, vocalist of Dimmu Borgir, shares vocal duties with Nergal.

Shagrath’s presence creates a really cool connection between different generations and styles within Black Metal. Behemoth’s version is also heavier than the original, including the use of seven-string guitars, but without losing its essence.

It’s like taking a classic piece and putting it in armor.

The Return of Darkness and Evil

If Venom represents one of the great roots of Black Metal, Bathory is another name that simply cannot be ignored.

“The Return of Darkness and Evil” appears here as a live version featuring Sakis Tolis, vocalist and guitarist of Rotting Christ.

Bathory were one of the pioneers of the first wave of Black Metal and had an enormous influence on everything that came after. The original song has that raw and aggressive sound that defined the early days of the genre.

In Behemoth’s version, it takes on a much bigger dimension. The guitars are heavier, Inferno’s drumming adds even more speed, and Sakis’ presence makes the whole thing feel even more special.

And because it’s a live recording, there’s a different kind of energy here. It isn’t just a tribute — you can actually imagine the song hitting a crowd.

An Album With an EP Soul

If I had to compare I, Scvlptor with The Shit Ov God, I’d say the new record seems less interested in making a grand statement and much more interested in celebrating Behemoth’s own journey.

The Shit Ov God had a more focused and uniform approach. I, Scvlptor takes a different route, mixing new songs, recovered material, reworked tracks, and covers. Even so, everything seems connected by the same idea: revisiting Behemoth’s roots and the roots of Black Metal without simply repeating the past.

And maybe that’s exactly what makes the experience feel lighter.

It’s an album, but it has that good EP feeling. You press play and, before you know it, it’s over. There’s no sense of excess, and none of the tracks feel like they’re there just to fill out the record.

Behemoth revisits the past, but doesn’t get trapped in it. Venom, Bathory, and the band’s own early years are important references, but they are filtered through the perspective of a band that has evolved enormously since those days. The older songs gain weight, clarity, and modern production, while the newer material naturally fits alongside them.

It’s like returning to a familiar place after many years and seeing it differently.

In the end, I, Scvlptor isn’t simply a collection of old songs revisited or a tribute to the names that came before. To me, it represents the very act of sculpting: taking what already exists, preserving some parts, breaking others, and turning everything into something new.

Behemoth looks at the stone that helped build its path, acknowledges the sculptors who came before, and uses the tools it has today to give that history a new shape.

And maybe that’s the beauty of the record: looking back without ever returning to the same place.

Game Over: Mantendo a Tradição do Thrash Italiano

Scarlet Records (Imp.)

Por Paula Butter - @paulabutter.rocks

Depois do impacto causado por "Face The End" em 2025, os italianos do Game Over não deram trégua e já retornam com "When Darkness Falls", tendo lançamento previsto para 18 de setembro de 2026, pela gravadora Scarlet Records. A banda de Ferrara segue fiel à sua identidade: thrash metal cru, veloz e sem meio-termo, mas parece disposta a intensificar ainda mais a pegada nesse novo trabalho. Com a formação atual, sendo Danny Schiavina nos vocais, Luca Zironi na guitarra, Leonardo Molinari no baixo e Anthony Dantone na bateria, o grupo chega a este décimo trabalho em plena forma, prestes a encarar uma turnê europeia ao lado de Defiance e Bonded.

Logo no início da audição, a intro costumeira, mas que já dá o tom para "Two Souls One Flesh", com som bem característico da banda, refrão forte, riffs marcantes e bateria a todo vapor. Na sequência, "Break Away", que na minha opinião é a melhor do álbum, inclusive já com vídeo disponível no YouTube. A música tem uma letra forte e politizada, juntamente com "Fight For Your Mind", ambas empolgam bastante.

À medida que a faixa "Scream It Out" finaliza, a sensação é de uma transição, disfarçada de pausa, para o lado mais sombrio característico da banda, que inclusive homenageia alguns clássicos do cinema de horror. Não que seja uma transição ruim, pois a faixa "Curse Of Strahd" é ótima e agrada em cheio aos fãs dos italianos do thrash metal. Entretanto, a sensação que fica é um pouco confusa, mas nem toda obra precisa necessariamente de um contexto ligando todas as canções. Acredito que, atualmente, como a maioria dos álbuns está sendo lançada com algum conceito costurando as canções, acabamos por estranhar quem faz diferente. E por que não dizer, o faz do jeito mais tradicional e comum em décadas passadas.

Para tecer as opiniões desta resenha, ouvi o álbum algumas vezes e, o mais importante, em momentos diferentes, para conseguir identificar se as minhas percepções não estavam equivocadas, mas realmente não foi o caso. A sensação em todas as vezes foi a mesma: um bom e competente álbum, porém sem aquele "mojo" que te faz parar e dizer "Nossa! Deixa eu voltar esta faixa". Destaque para a arte do álbum, do artista Mario López, que é parte importantíssima para captar a essência da obra. 

Por fim, a última música, "Command To Die", não decepciona, porém não surpreende. Todas as 10 faixas da obra são bem produzidas e executadas, ótimas para uma playlist descompromissada e confortável. 

Tracklist - When Darkness Falls 

Hollow And Cold

Two Souls One Flesh

Break Away

Fight For Your Mind

Scream It Out

What Fate Brings

Curse Of Strahd

Beneath The Ground

Self Denied

Command To Die

Interview –The Cruel Intentions: ten years on the road, a new album, and the long-awaited Brazilian tour

Jørn Veberg

Mats Wernerson talks about the band's identity, the reception of All Hail Hypocrisy, and their debut in Brazil in 2027 

CLIQUE AQUI PARA LER EM PORTUGUÊS. 

By Thais Navarro (@_thais_navarro) 

Just a few months after the release of All Hail Hypocrisy — The Cruel Intentions' third album —, bassist Mats Wernerson spoke with Road to Metal about life behind the scenes of this Scandinavian band. In the interview, he discusses how the group's identity has solidified over ten years on the road, the impact the Peacemaker soundtrack had on the band's international reach, the current state of the sleaze scene and plans for the coming months: which include, finally, their arrival in Brazil in May 2027. 

Check out the full conversation below! 

Mats, thank you so much for your time and your music. How would you describe The Cruel Intentions (TCI) current identity? You have a unique formula in your songs that makes the band very unique. So how did you develop your identity over the years, and how does it come together now on All Hail Hypocrisy? 

Mats: What we've got going on right now comes from years and years of the four of us playing together, having a good time. I feel we're better than ever today. We know each other so fucking well after 10 years now.  

I think the sound came from the first album: punk rock, a lot of attitude, pretty dirty. The second album was more polished, a bit more melodic. So I think it's a very good mix of those two coming into All Hail Hypocrisy. And I think we found our perfect mix of dirty and melodic in this album, because we don't want to become a full-on melodic rock band, or whatever. We want to keep our identity, which is punk, metal, sleaze, everything in a good mix. And I think we found it perfectly on All Hail Hypocrisy, and it's organic, because of the time spent together, touring and playing. It's super organic and I love the sound of the new album. 

It's definitely a killer album. And you mentioned touring — the reputation of intense TCI live shows is a central part of the band. How is that built on stage and how important is it to you to give fans this intense, memorable live experiences? 

Mats: It's very important, and I don't think we could do anything else about it — it just comes naturally when we get on stage. This past week we were in Gatlinburg, Tennessee, playing two shows. We were very tired from jet lag and some late nights. And the moment we all hit the stage, none of that tiredness mattered anymore — you can't feel any of it. I looked over at Kristian (N. Solhaug, TCI guitar player) and he had this big grin on his face, and I thought, "okay, it's fucking go time." Then it was 100% energy.  

You also feed off the crowd, like the show in Oslo (in May) — a very small venue. This is also something else, because at the bigger shows people are a couple of meters away, but you still feed off the audience (but in smaller venues it's way easier), and seeing people sing along gives you even more energy. So I don't think we could do anything other than 100% rock and roll energy. 

You're coming to Brazil and other countries in Latin America next year. What are your expectations for this tour, and what can Brazilian fans expect? 

Mats: Expectations are actually very high. This is something I've been dreaming about for as long as I can remember — all of us. Lizzy (DeVine, TCI vocalist) was there 10 years ago with Lizzy DeVine Solo. He's been telling some stories, and I have friends from bands like Eclipse and Crashdïet who've been there too — everybody says it's the best. It's a lot of travel, late nights, but still one of the craziest audiences in the world, from what I hear from bands like Iron Maiden and, as I said, my friends.  

So, very high expectations, and I guess Latin America can expect the same from us — we're going to give it all. We're doing headline shows, so it's gonna be longer, gonna do more Vains of Jenna songs. I know there are a lot of Vains of Jenna fans, so we're gonna do a couple more than usual. And just a full-on rock and roll set with a lot of songs from the new album, the classics, and the Peacemaker songs. 

It's cool that you mentioned Peacemaker — how much of a difference did it make for you as a band? I watched this TV show partly because of the tracklist, and the scene with the Vigilante walking out of prison to Jawbreaker was mind-blowing. What was it like to appear in the show, and how much of a difference did it make for the band? 

Mats: It had a huge impact, starting with the first trailers. We had Borderline Crazy in the American and Canadian TV commercial trailer before the show even started. Then streaming went off the charts — a lot of streaming from South America, the UK and America, which we hadn't seen before. We used to have Sweden at the top, but now I think Brazil is actually our top country on Spotify, at least over the last year.  So the streaming was crazy. The show aired one episode a week, If i remember correctly, and the fourth episode had the Vigilante scene. After that, the YouTube channel, Instagram and Facebook blew up, with comments like "thank you James Gunn for giving me this band." Comments asking us to come to Brazil became even more common, which I love. It was very surreal to hear our music in a James Gunn show — we love James Gunn, and Peacemaker is a really good show.

You mentioned Crashdïet, and we're in a great run of releases right now from the sleaze scene. How would you describe its current state, and what do you expect going forward? 

Mats: I think it's amazing what's happening with the sleaze scene right now. It feels like a real revival, with us, Crashdïet and Confess releasing singles and albums together throughout the spring this year. And to see people all over the world become very happy about these singles and albums releasings. I think it's an amazing time right now for our type of music, sleaze rock and rock and roll in general. A lot of good bands, a lot of good albums coming out. 

Where do you and the band usually look for musical references? Do other art forms inspire you, inside or outside rock music? 

Mats: It's so hard to tell what inspires me. When I write music, it's usually like the state of mind you're in at the time. I don't actually listen to much music while I'm writing my own music, because I'm too occupied with this. But leading up to All Hail Hypocrisy, I was listening a lot to Tuk Smith and the Restless Hearts, which I think shows through a bit in some songs — maybe When Eden Burn leans a little more melodic, rock and roll type of thing.  

So inspiration can come from anything: daily life, just living, basically. I write most of the music together with Lizzy, and he writes all the lyrics, so I think his inspiration comes from his life, his experiences, the 10 years with the crew, all the late nights, the parties and the tours we've done together. A lot has happened, and we usually talk about that stuff and laugh about it while we write songs. Like "Porridge Head", for example. 

I was actually going to ask you specifically about that one. 

Mats: It's a very special song. I had that riff for a long time. It's a special riff; I think it was Erik Martensson from Eclipse, our producer, who said the riff was fucking awesome, and we kept working on it but couldn't find the right theme for the lyrics. So Lizzy started writing about "porridge head". Porridge Head it's a term used within the band, we've been using it for 10 years. Now, it's become more of a thing: we have hats, I have a t-shirt that says "Porridge Head," and people started talking about it, which was very funny for us to see. I think some of the verses are actually about me, from when I was younger and drinking a lot. So that's a Porridge Head.  

Like the line about “staints of vomit on your chest from food you never have? 

Mats: Maybe. Maybe it has happened. Who knows! 

I also love the lyrics. Lizzy, as you said, is a very good songwriter too. 

Mats: Yes, very good. His lyrics are insanely good, and there is dark and there is humor — sometimes very serious, sometimes just like "fuck off". I love his mix and his style of writing, and he comes up with everything so fast. 

Would you say Porridge head is your favorite song on the album, or do you have other ones?

Mats: It depends. I listened to this album so many times while we were mixing and leading up to the release. A lot in the car, at the gym, or out running, just to figure out how we should put the track order. So I've had a lot of favorite songs over the months leading up to release, and it's kept changing since we started playing these songs live. It changes from show to show.  Right now I think "Triple Threat" is my favorite to play live, because it's brutal — hard, heavy, fast, it's got everything, and people really enjoy it when we play the new songs, especially "Triple Threat" and "All Hail Hypocrisy." So it's different songs for different days. 

Do you want to play it live? And more songs from the album? 

Mats: Yeah, we're going to do more. We actually started rehearsing "Porridge Head" — and I loved it, I love playing it, it's got a lot of punk rock energy. I think we'll put that one on the setlist, for the Latin America dates. 

Now that it's been a few months since All Hail Hypocrisy came out, how do you feel about the public reception? 

Mats: It's been crazy. It's been so good, way beyond anything I could have imagined. When we were done in the studio, Lizzy and I talked and said, "We loved it. This is us, this is our best album for sure." I had a feeling people would like it, but not like this: we've had so many fantastic reviews from all over the world. Road to Metal's review was spectacular. 

We're approaching the end. After three amazing albums, what are your plans for the future in general? Is there something you want to do that you haven't done yet? 

Mats: Plans and goals — let's see. We've got some shows coming up this year: we're going back to America in a few weeks, and just before that we're playing at Rock the Sun in Barcelona with Eclipse and Michael Monroe. We're doing a Swedish tour with Hardcore Superstar in October and November, which I'm really looking forward to. I love Hardcore Superstar, all of us do, we're big fans of the music and the guys, and we get along really well with them. That's the plan for now.  Next year there's going to be even more shows — we're doing the Monsters of Rock Cruise in May, then heading straight to Mexico and all the Latin America dates, which is a dream come true. Another dream would be Japan. we've never been there, so that's the next goal, to get a couple of shows in Japan. And then we're starting to write the fourth album right now. We have started looking into titles, sounds, songs, I've got a couple of riffs.  

That's very good to hear.  Would you like something else? 

Mats: I'm just very excited to come to Brazil and the other countries. I've never been to Latin America — I've only been to Mexico, around Tulum, with the cruises. So I'm very excited to see all those countries in just five or six days. It's going to be very hectic, but that's what I'm looking forward to the most: playing these songs for what seems to be our biggest fan base. 

We've never had a response to a tour announcement like we did with Latin America. It was crazy, hundreds of comments and shares, people saying "fuck yeah, finally," because they'd been waiting so long. It's been like 10 years. I remember the first time someone wrote "come to Brazil," it was like 10 or 11 years ago, and I never thought we'd make it. Right from when we started, people were already writing "come to Brazil," "come to Argentina." So I'm very happy to go there and play these new songs for you guys. 

"Come to Brazil" is indeed a very popular thing here, we're very insistent. 

Mats: Yes, and it worked! This time it really fucking worked.  

The Cruel Intentions is coming to Brazil in May 2027. For more information, click here. Don't miss it!