Though DOOR 964 is a new band, each member is an established musician on the Finnish (from Oulu) music scene. As a unit, their stated intent is not to innovate, but rather play traditional, melodic rock. To this end they want to offer listeners memorable riffs, solid rhythms with beautiful keyboards, catchy melodies, and world class vocals. DOOR 964's inaugural effort, "C.O.T.D.," delivers on this, providing 36 minutes of well-produced, melodic, hook heavy AOR highlighted by strong vocal harmonies and guitar solos that fit each song almost perfectly.

"Fire At Will" opens the album with a rocking mix of keyboards and guitar, the rhythm section (led by Matti Torro's steady work on the skins) providing a solid backdrop. Mika Pohjola's keyboards are used to good effect, giving the number an echoing quality, while Sami Huotari lays down a bass bridge that adds to the song's overall appeal. Risto Silenius might perhaps be the hero of this song and the album, if there is such a thing in a band that plays so cohesively. His guitar solo here does nothing but embellish the track, both rhythmically and technically, rather than stand apart. In fact, I'm hard pressed to find one of Silenius's six string interludes on any of the album's songs that doesn't do so.

Bass and drum anchor "Once Again," another uptempo number, though it doesn't rock as hard as the opener. It's a bit more atmospheric than "Fire At Will" thanks to Pohjola's keyboard accents. "C.O.T.D." is initially techno flavored, giving way to drums and the steely sound of an echoing hammer. The track continues the atmospheric tonality established on "Once Again," but even moreso. Though built upon a catchy riff, the transitions into each verse seem a bit off tempo. "Face To Face" is a strong synthesizer-based song, reminding me somewhat of a modern take on what ANGEL was doing in the late 1970s.

The second quartet of songs begins with "Wings's," a tune whose melody begins almost delicately then subtly shifts into something heavier. Pohjola's synthesizer is the centerpiece, Huotari's bass providing a strong backing to the keyboardist's solo. An almost orchestral sensibility permeates "W.T.L.K.." another slower track that blossoms instrumentally, the synthesizer playing in harmony with the guitar, bass, and drums. "Childhood Heroes" is more of a rocker than the preceding two tracks, strong bass playing serving as an anchor. The lyrics are especially poignant, nostalgically looking at the world as we did during childhood. "World's Collide" put me in mind of a song for lovers, with a simple guitar leading into a gentle melody.

In some respects, "C.O.T.D." can be divided into two parts, the first four tracks having more of a rocking punch than the latter four (three of which are ballads). DOOR 964 play in a tight, cohesive manner, though it sometimes seems as if the keyboards feature a little too heavy in the mix, giving the album an overall glossiness. That being noted, "C.O.T.D." is, at its core, a fine example of melodically comfortable AOR.