LORDI is a Finnish Hard Rock/Melodic Metal band. Since 1992, the group has released nine studio albums, including "Sexorcism," just released in May of 2018, which contains 13 tracks.

Title track "Sexorcism" appears first and has a slow beginning that builds from eerie keyboards to a capable riff that's really the backbone of the song. Don't let your grandparents hear the sexually explicit lyrics, no matter how catchy the harmony-driven chorus is. Powerful MAIDEN-esque guitars take you on a journey right before the final bridge and chorus. It's a song that immediately grabs you, and many groups fail in their attempt to present an opening track that leaves such an impression. "Your Tongue's Got The Cat" is next and sucks you in with a classic 80s-like mesh of guitar and keyboards and a thundering bassline. The song continues to deliver with a singalong chorus and a great use of keyboards throughout. I really have to praise Ms. Hella here. The keyboards create the perfect balance for this type of music and don't seem forced or thrown in there in an attempt to differentiate the group; instead, they're executed wonderfully and certainly not lazily.

The story that LORDI has created with "Romeo Ate Juliet" is fascinating, but the song is overshadowed by how thoroughly enjoyable the first two are. For me, it still delivers but not as much, and this is mostly heard in the chorus, a little repetitive and uninspired. "Naked In My Cellar" comes next. Musically, it's exceptionally good, but the lyrics deal with heavy topics such as kidnapping, torture, and maybe even rape, which may not be every listener's cup of tea. Even for this album, they stand out.

In "The Beast Is Yet To Cum," Mr. Lordi really tests his vocal range in the verses, and the track is overall strong and theatrical, with a good chorus and keyboards like a pipe organ. "Polterchrist" is another great track, with some expert guitar work in the middle and lyrics akin to the script of a horror film. Once again, the group doesn't fail in providing the perfect imagery for their music, and it makes me excited for each song to come. This trend continues with "The Documented Phenomenon," an interlude about a minute long in which a priest confronts a demon, who is speaking through the body of a possessed girl.

"Slashion Model Girls" opens with driving bass and guitar but does drag, which is probably because of its slow tempo, which doesn't pair well with the hooks that have been created. However, "Rimskin Assassin" picks up the slack and almost opens like a MEGADETH song before the signature keyboards come in, and a screeching guitar solo keeps the party going before the last chorus is repeated. "Hell Has Room" is a song where I think a slower tempo fits really well, allowing for a powerfully drawn-out chorus and a mature guitar solo that provides a clear picture of the full range of Mr. Amen's abilities.

"Hot & Satanned" opens with a nice juxtaposition of stirring keyboards and what could be viewed as an angelic choir and tells the story of a tormented girl who comes back to life with the intention of getting revenge on her bullies. The drum intro in "Sodomesticated Animal" is fantastic and creates a nice build for the rest of the band to come in. The chorus is strong, and there's a perfect keyboard interlude before another monster guitar solo. The album closes out with "Haunting Season," and after praising the group for a strong opener, I can say the same about the last track. More than that, this might be the best of the bunch, six minutes of lasting hooks, wonderful vocal harmonies, and a more serious tone that signals the end.

Their ninth LP, LORDI has created something which excels musically, lyrically, and artistically. I was never bored, and there isn't a track that feels like a throw-away; instead, they all contribute to the larger work, a heavy, creative venture that will please old fans and new.