Oranssi Pazuzu - Muuntautuja (2024)

Country: Finland
Style: Experimental Rock/Metal
Rating: 7/10
Release Date: 11 Oct 2024
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Muuntautuja means Transformed and I'm told that's what Oranssi Pazuzu, experimental Finnish musicians, are every time they release a new album. I have to take that as read because I've only heard one thus far, their fifth, 2020's Mestarin kynsi. Well, I've also heard and reviewed the 2019 collaboration with Dark Buddha Rising, which they called Waste of Space Orchestra, which is why I checked out Oranssi Pazuzu to start with. I gave the former a 9/10 and the latter an 8/10. I found it all fascinating stuff.

This sixth album is different again, moving a little further away from black metal and a little more into electronica, but it's still an unholy hybrid of multiple genres. Voitelu (Anointing) epitomises that mindset with such a bizarre merger of different music that, by the time a stomping riff shows up three and a half minutes in, it feels like we're listening to four different songs at the same time. It starts out with a punk vibe but one that's too regimented to be chaotic, more regulated into industrial. The vocals are pure black metal orc shriek. And then there's some delicate Philip Glass piano over the top. It's a heady mix but it's almost the definition of not for everyone.

Most of the rest is a lot easier to approach. The title track, for instance, mixes subtle dark drone with chirpy electronic glitch bleeps and what could easily be a hiphop beat. The vocals are heavily processed, a la Kraftwerk. "We are the weird Finnish Robots" Oranssi Pazuzu seem to be saying. It all grows behind them into a post-punk approach, becoming more chaotic halfway through, while resisting the temptation to veer into noise rock. There are no screams here. It all feels held back, moments sounding rather like the Prodigy.

Ikikäärme (Eternal Serpent) is accessible too, but it requires some patience, unfolding slowly and steadily over ten minutes. It starts out with tinkling piano and loose jazz, but with an overarching pulse looming in the air above it. The initial vocals are rich and ritual, as if they're trying to conjure something up. Later, perhaps they succeed because they become so tortured that they sometimes come close to being unrecognisable as vocals. Is that a voice or a weird distortion effect on a synthesiser? I find this one delightfully weird and would call it out as my favourite piece of music, followed closely by the closer, an instrumental called Vierivä usva (Rolling Mist) that rolls inexorably along like a conveyor belt into Hell.

Some of it could be considered accessible to alt rock fans who have a grounding in certain bands. For instance, the album opens up with Bioalkemisti (Bioalchemist), a tantalising rhythm exploding into a heavy grungy riff. Suddenly we're in Swans territory and, interestingly, we kind of stay there even when the intensity reaches black metal levels. The guitars and vocals clearly go there, but the rhythm maintains an industrial bludgeon. Valotus (Illumination) dives quickly into industrial territory, escalates into an intensity that's more crust punk than black metal and then ends in noise rock, emphatically the most raucous the album gets. It would be sheer chaos if it wasn't so rhythmic.

As you might imagine, each track here takes Oranssi Pazuzu into different territory, without ever losing a consistency of approach. This band are still creating soundscapes with an unusually broad palette. It's easy to draw a line back through musical history to new wave and post-punk, but that line isn't remotely straight. It diverts here, there and everywhere, adding textures from all sorts of different genres, from ambient and modern classical all the way through to black metal. What results is often fascinating.

While I'd personally favour Ikikäärme and Vierivä usva, Hautatuuli (Grave Wind) is the track that fascinates me the most. It's another more restrained piece, with more of that new wave vibe, but the vocals are extreme. They're not shrieked here so much as they're whispered in ominous fashion from under a rock somewhere. It's like the soundtrack to a short play written by goblins, with the lead character a supposedly enticing predator who can't avoid coming across dangerously repellent. Come here, little boy. It's not remotely safe under this rock.

I like this album, but I don't like it remotely as much as Mestarin Kynsi. Just from two albums, it's as if Oranssi Pazuzu are a journey rather than a destination and each album is a stop on the way. I have a feeling I'm going to find every stop fascinating but I'm not always going to want to get out and explore. Here, I'm staying on board, waiting to see where we end up next.