Hooded Menace have always been in their own way an anomaly within the Finnish death doom scene, opting for a sound with harsh and horrific traits, with more than a glimpse of classical nuances and in any case far from being oriented towards the more dramatic and emotional side as done by many compatriot bands. With The Tritonus Bell, the band led by Lasse Pyykkö has reached its sixth full length in a little less than fifteen years, and with time has reached a style that is somehow more appealing, perfectly expressed and synthesized in this last work in which the heavy pulsions are wisely mixed with references to Paradise Lost of the early nineties. This is not at all synonymous with a lack of originality, because Hooded Menace‘s ability lies in being able to manipulate with ease and credibility sounds rooted in the last century. To exemplify the two souls that pervade the sound of the Finnish band there are as many tracks that, on closer inspection, are stylistically placed at the extremes: in fact, if Blood Ornaments brings back to the past of the British masters of gothic doom (Shades Of God era), the final Instruments Of Somber Finality (the boxed set version is actually closed by the cover of The Torture Never Stops by W.A.S.P.) is a short instrumental with classical traits and exalted by a valuable work of the lead guitar; everything in between is of great quality and fully justifies the appreciation from the public as well as the constant positive feedback from the critics for Hooded Menace.
2021 – Season Of Mist