Thunderstone
Tools Of Destruction

THE REVIEW

The heavy-power genre proudly embraces the notorious reputation it has built for itself, acting as an impenetrable barrier for those unfamiliar with the genre. To identify an album that belongs to the aforementioned metal movement, it is usually enough to read the band's name, the song titles, or if you don’t know basic English, simply look at the flamboyant cover: all elements aimed at captivating and sparking interest towards a teenage audience. Let's move on to a concrete example: the Finnish band Pietratonante (Thunderstone) and their third album titled "Tools Of Destruction". The ghastly presentation is completed by the cover featuring a humanoid, rigorously hidden behind a skeletal mask, equipped with four arms to better handle a full set of Miracle Blade Chef Tony's third series.

If you have managed to climb over the wall I have briefly described, trust me when I say you have made it.

The Thunderstone, needless to deny, were born at the beginning of the new millennium as an offshoot of Sonata Arctica, who in their debut Ecliptica were nothing more than a better version of Stratovarius. The eponymous debut of Pietratonante therefore added nothing to Finnish power metal. However, since their second product "The Burning," they have shown their attributes by putting aside keyboards in favor of more pronounced riffing, decidedly rough and gritty vocals, and fewer fast solos. Tools Of Destruction was a surprise to my ears; a pure heavy metal CD with many granite-like mid-tempo tracks that, even after 2 years, still make me nod my head in silent and satisfied assent.

The opener ("Tool Of The Devil") starts leisurely with the bass, introducing us to a dark and gritty vocal highlighted by the heavy riff. Elegant chorus, essential without an overuse of syrupy melodies, leading to a passionate, brief, and slow solo. The whole album follows these directives with the exception of "Without Wings" and "The Last Song", which serve as a "sweetener" for the steadfast fans of the stereotypical metal made in Finland. Among the best moments of the product, I mention the epic nature of the single "I Will Come Again", with a bridge and a chorus worthy of applause without needing to use the double pedal. In "Feed The Fire", the six strings play a decisive role in creating a dark atmosphere. Laurenne's melodic but gritty and passionate voice is wonderful (do you know Jorn Lande?) and gives its best with remarkable vocal extensions in rapid succession.

I close with the suite "Land Of Innocente": a dizzying demonstration of compositional maturity. It begins delicately with a haunting soundscape of piano, broken by a crescendoing riff emulating the approach of someone's footsteps. The attention is total, and the clean singing arrives for passionate verses that harden with the addition of guitars and a progressively rougher tone... without forcing it, I find myself singing an epic chorus, with excellent backing vocal additions. The break with mini-speech is an exciting moment as it sets up for the final tail-end strike with a memorable crescendo to the melodic end.

3 and a half stars... I generously give 4.

One of the surprises of the year (2005) in the heavy metal scene for me. Melodic, rough, and powerful showcases a band in full health, totally different from their debut.