Well shit. “Karn of Burnings” is UNSHINE’s fifth full-length album. It was released on March 22, 2024 via Rockshots Records. It’s my first exposure to this band. This means I will be buying at least four more albums in the next few days so I can play catch up. I will also need to practice my lying skills so I can tell everyone I know that I have been into this band since they formed back in 2001. UNSHINE hails from Helsinki, Finland. Most would call them Symphonic or Folk Metal—and their earlier releases certainly have delved more deeply into these spaces—but the band more recently prefers Druid Metal, which I think fits them best, especially with “Karn of Burnings.”

Arguably, their most striking feature is the intoxicating vocals of Susanna Vesilahti. This by no means is meant to take away from the fine musicianship of the other four band members, but Susanna’s vocals will haunt you dead. To my ear she is in the same class of artistry as Martina Horváth. She has a perfect upper register pitch that sounds like it was forged out of glass, æther, and ice. The lyrics are also all sung in Finnish, which to this monolingual American sounds as exotic and angelic as what I imagine ancient Sumerian might sound like.

“Karn of Burnings” comprises eight tracks and has a solid runtime of 46 minutes. The production values are excellent, allowing the listener to fully appreciate every aspect of this fine album from the percussion to the riffs to the bass line to the vocals. Thematically, the album promises an “enthralling voyage delving into the realms of pre-modern human existence and posthuman metaphors.” They also note that each track represents “a living entity from different eras.” And if I could understand Finnish, I might be able to confirm that statement. As it is, I can only say that it certainly sounds “enthralling” and the conviction of the vocals and ambiance of the music suggests themes of a cosmic and spiritual nature more so than maybe ‘sex, drugs, and the devil.’

Amongst the eight tracks, pretty much all of them are standouts. I wouldn’t want to anger the gods by esteeming any one of them over any of the others . . . but what the hell, here we go: I loved “Arrival Aurochs” for its sinister edge. It hints at the wicked side of the Fae—enticing and dangerous with Eastern flourishes. “Sakraali Elementaali” (trans: sacral elemental) kept me on edge with its galloping tempo and melodic, almost tremolo, riffs near the end. I was also entranced by “Maa Jälkeen Ihmisen” (trans: Earth after man) for its hypnotic riffs, vocals that verge on chanting with their declarative cadence, and the slow breakdown at the conclusion. I should also give a hearty hails and horns call out for “Mill of Bergelmir.” The mid-section of this almost seven-minute track is blissfully heavy. I have no idea what the song is about—I mean, maybe a millhouse in Bergelmir—but I’m all in.     

I found it refreshing that the album doesn’t rely on acoustic or traditional instrumentation to lay claim to the Folk label. They also don’t go too heavy on the synths to create an artificial orchestral vibe. At the same time, they don’t get too piratey like an off-Broadway musical. Instead, they somehow achieve their compelling sound through a of mix of evocative vocals, deep harmony, and full-on riffage. I’m guessing that’s where Druidic comes into play.  

All in all, I am thoroughly beguiled by “Karn of Burnings” and this band that unironically calls themselves UNSHINE. I’m guessing there’s some Finnish twist to this name that Google isn’t telling me about. At any rate, my basic review is: “Holy fuck!” Followed by the donning of druidic robes and the rushing out into the forests and labyrinth of waterways that are Finland to achieve Nordic rapture.