I’ve seen surprisingly little hype about Kalmah’s self-titled album. It hasn’t popped up on mainstream end-of-year lists. Even melodeath addict Wvrm and promo bin overlord Steel didn’t hear about it until after it came out. Alongside bands like Children of Bodom, Kalmah held the reins of Finnish melodic death metal in the early 2000s. Blending blistering melodic riffs with prominent synths, Kalmah defined their sound twenty years ago and has reveled in it ever since. Emerging five years after Palo, Kalmah’s self-titled shows them doing what they do best. It doesn’t redefine melodeath, but it’s exactly what you’d want from a new Kalmah record: consistent, memorable, and exhilarating.

Kalmah is a scorcher from start to finish. Kalmah has always been a master of fiery riffcraft, and they show no signs of slowing down. From the melodic acrobatics of “Veil of Sin” to the straightforward death metal of “Taken before Given,” Kalmah is a shot of adrenaline. The synth leads, a staple of Finnish melodeath, are prominent enough to add depth but subdued enough to avoid sounding cheesy. On the other hand, the softer clean sections add variety without compromising catchiness, like on the emotive closer “Drifting in a Dream.” Kalmah deftly merges these elements into a satisfying whole; “Taken before Given,” for example, hopscotches among simple death metal riffs, a ferocious chorus, infectious shouted vocals, and a flailing guitar solo, nailing them all. No song here is a laggard, as Kalmah grabs my attention and refuses to let go.

While Kalmah shines throughout its 44 minutes, its climaxes take things to another level. The choruses are a spectacle, with “No Words Sad Enough” tugging at your heart before “Home Sweet Hell” sends you into a frenzy. Meteoric melodies appear from nowhere to break and enter your skull, like the explosive midsection of “Tons of Chaos.” Kalmah plays you like a puppet on tracks like “Veil of Sin,” by providing brief breathers before re-escalating into pandemonium. These climaxes are both thrilling in their own right and a testament to Kalmah’s songwriting prowess. The record’s peaks and valleys make it feel like a dynamic experience where novelty is always right around the corner. While Kalmah is solid throughout, its high points make it even more irresistible.

Kalmah is a complete package. It’s a constant page-turner, from the gripping opening of “Haunted by Guilt” to the somber keys of “Drifting in a Dream.” Despite staying within Kalmah’s comfort zone, it ranges from take-no-prisoners death metal to elegiac ballads without losing steam. Its climaxes are both ferocious fun in isolation and a roller coaster in aggregate. Even the cover art, courtesy of Niklas Sundin (Mitochondrial Sun, ex-Dark Tranquillity), is stunning on first glance and rewarding to revisit.1 It’s not worth being a snob about music this powerful. Leave your hang-ups at the door, dive in headfirst, and bask in melodeath glory.