From their EPK, “WARCHIEF is an experimental hard rock band that explores the many dimensions of the rock and roll universe. This exploratory musical sub-surface vessels launch pad is located in Jyväskylä, Finland and the engine is powered by a fuel with an even mix of stoner, doom and sludge. The navigational devices are, however, controlled by a wide systems array of grunge, 90’s alt rock, progressive rock and AOR. Even with this multitude of signals the band doesn’t get lost in space, just jamming and feeling out the vibes. The thrusters are always on, and the forward momentum is continuous and merciless. WARCHIEF is getting ready to release their sophomore effort "Toil & Trouble" on Octopus Rising, which has further developed the band’s sound towards more experimental and nuanced approach. The interplay with the quiet beauty and crushing heaviness has been amped up and intermixed to an altogether new complex degree.

The album has six songs, and “Ghost Egg” is first. It eases in with a smooth Southern Rock sound, and a nifty little groove. Like a caged, hungry dog however the riff hardens and the vocals swell. I get mostly tones of ALICE IN CHAINS, and Stoner Rock vibes. The title track has a softer and more melodic entrance, and those meaty bass notes mix in well with the fuzzy guitar notes. It is chocked full of a jovial melody that just makes you feel good and flows like a gentle steam through the woods. “To Whatever End” has another strong melody that can lift you out of your funk and into the afternoon sun. It takes a tenser and more mysterious turn leading up to the halfway mark however, and the bright sun becomes grey storm clouds. “Maailmankaikkeus On Pikimusta Ja Tayna Surria Vaarallisia Tahtia” is a curious offering that just sort of floats out there like a ship on calm seas. It picks up a bit after the halfway mark, but this song is all about a smooth ride.

 “I Can’t Sleep at Night” is a near nine-minute opus, and the title is reflected in the music…it’s slow, solemn, and sad. Eventually, the riff hardens, and the vocals swell to cries of frustration. “Mothmaker” is the final song, and it has some melody, but some of it is hidden behind animated bass notes and solemn tones. The fuzz in the riff brings it to life at just the right time. The interesting thing about the album is that some might say it lacks a core identity…there is a good deal of variation presented. But I believe that is where its strength lies. I would be remiss if I didn’t mention that I like the flat-out melodies better than some of the moodier songs, but overall, this was a pleasant listening experience.