Finnish legends The 69 Eyes continue their storied legacy with their latest release, Death of Darkness. The group keeps its original power-hungry sound but employs some unexpected influences that separate it from the rest.

As lead guitarist Bazie employs a simple opening riff counteracted by a piano’s soft cry, the album’s title track seamlessly picks up where their 2019 release West End seemed to leave off. The rhythm guitar comes in with a lot more edge while the drums remain subdued; it’s a perfect balance that allows lead singer Jyrki 69 room to croon. 

Between his smooth vocal tones, a voice screams about a funeral and how they will die. The lyrics suggest that the band might surrender their goth rock crown to start a newer chapter. But the album suggests a renaissance of their own sound with some new tricks.

“This Murder Takes Two,” featuring Kat Von D, the tattoo artist, beauty entrepreneur and musician, puts a country spin on the group’s sound and does justice to Jyrki 69’s vocals. The Johnny Cash and Elvis Presley comparisons on this song are solidified as he glides through the song on a river of drum machines and riffs. Jyrki 69’s dark sound comes out in his lower register as he sings the song’s title repeatedly at the end of each chorus, making the song his own.

Von D’s raspy falsetto rings across the bridge as Bazie gives a signature guitar solo to help slow down the track. Bazie’s spotlight doesn’t come until more than halfway through the record on “Dying In The Night.” Although the track starts off strong with a thumping bass from bassist Archzie, Bazie’s solo is the most creative and electrifying on the album. He punches a simple distorted riff repeatedly with slight variations but it feels more complicated than that. Bazie sets out again at the end of the track, wailing into the wind as Jyrki 69 croons of being left alone to die in the middle of the night from a lost lover. From a simple song like “Dying In The Night,” the little flourishes from Archzie and Bazie help it stand its own ground. 

This album has two absolutely solid tracks: “Drive” and “Gotta Rock.” Through these next few songs, Jryki 69 uses his vocals to the best of his ability, implementing some upper range and growls into his tone, completely changing the sound. 

“Drive” already gets off on the right foot with its “Welcome To The Jungle”-esque intro but thrashing drums courtesy of Jussi 69 help keep the pace pumping. Bazie’s lead guitar flashes on and off, leading from one destination to another, with soft keyboard riffs and even a siren hopping along for the ride. 

“Gotta Rock” takes a similar page from the pop culture playlist and uses a “Billie Jean”-esque intro for this track, but infusing it with guitar helps keep its sound unique. That original feel stays in the background as the song continues and The 69 Eyes truly start to take over; it’s a great jumping-off point. Early in the song, Jyrki 69 starts to set up a different feeling but it turns again into getting lost in a rock n’ roll girl and falling for her completely: “Run, don’t walk, baby, life too short/ Lord, I wanna know what’s in your mind/ Shoot me up, baby, shoot me down/ Keep the shooting on, shoot me dead.”

Overall, The 69 Eyes faked out a response to their previous album with a newer sound that works to perfection. This isn’t the Death of Darkness, it’s the birth of light and it rocks.