Alfahanne reminds me of Mötley Crüe circa Theatre of Pain. They had an edgy flair and a taste for real danger, but were a bit vacant when it came to the music. The pseudo black n’ roll found in Det Nya Svarta (Indie) isn’t as compelling or as exciting as the exterior presentation would suggest. And if any Mötley Crüe fans are reading this, Theatre of Pain ain’t that hot. The Crüe found their groove on the very solid Dr. Feelgood (both Elektra).

The Black Metal/Rock n’ Roll cocktail (“Apocalyptic Rock” as Alfahanne coins it) isn’t a new phenomenon, but it’s viable. Bands like Kvelertak rode that wave all the way to a Roadrunner Records contract. However unlike Kvelertak, Alfahanne just don’t have that wild at heart spirit that makes their music so unpredictable and yet memorable. Take a song like ‘Satan’s Verser,’ which has solid production, a Black Metal biased guitar tone and Pehr Skjoldhammer snarling all the way through, but fails to fully connect mainly due to uninspired rhythm section work.

‘Stigmata’ and ‘Avgrundsgravitation’ follow in a similar suit, having some choice ingredients, but not quite being greater than the sum of its parts. However the genuinely creepy guest vocals from David Lindh (Yvonne) and Broder Daniel and the slight touch of piano keys on ‘Avgrundsgravitation’ are certainly strong highlights.

Later in Det Nya Svarta, the Swedes find a stronger footing. Both ‘Klubb 27’ and ‘Dödsmaskin’ benefit from showcasing winding riffs and very subtle but highly effective lead guitar noodling in the final stretch. ‘Svarta Far’ finally gets the blood flowing with tempos more in line with classic punk.

Judging from all the musical experience found across this four piece, there is a great album to be made. But it’s a matter of making a choice. Do they want to have the image and stage presence without assembling a memorable musical catalogue (Black Veil Brides) or do they focus and nail both down (Tribulation)?

6.0/10

HANSEL LOPEZ