REVIEW: Lordi – Monstereophonic (Theaterror vs Demonarchy)

Two years has passed since Lordi’s most recent “Scare Force One” hit the shelves, and after a few ifs and buts, setbacks, delays and change of producer, the eight Lordi album has finally arrived, and it’s with great pleasure I found myself digging into it. Seeing that the album is sort of split into two, I’ll also split this review into two to begin with, starting with Theaterror.


To put it very simply, “Theaterror” is very old school Lordi, mixed with a major 80’s influence – to the extent you’d think this album was taken straight from the 80’s, with heavy keyboards and light guitar riffs. The album starts off with a phonecall, voicemail from what I assume is Hella’s murderer Ralph Ruiz (read the To Beast comic book) threatening us on the phone before a divine melody line signed Hella which launches us into opening track “So.W.C.A”*, and it continues that way – catchy melodies with the strong prescence of a keyboard being what ties it all together. Lyricwise, it’s very similar to what we’ve heard before – leaving “So.W.C.A”, which is about Masters of the Universe, and “Hug You Hardcore” with more of a parental advisory kind of lyrics being the only two exceptions.

This album IS taken to the next level – no doubt about it. Even though I feel I could fit most, if not all, of these songs onto “Babez For Breakfast”, it’s still done a little better, with a little more finess – and I’d like to think that this is the magical work of Nino Laurenne – “Theaterror” is basically what “Babez For Breakfast” should have sounded like. 

However, it’s a little bit predictable. It’s not Sabaton-plagarising-themselves kind of predictable, but the album follows the same schedule we’ve seen on all of their previous albums, and some songs directly draws the thoughts to some older songs (“Mary is Dead” to “Missing Miss Charlene”, “None for One” to “Loud and Loaded” to mention a few)

“Theaterror” is a very fun album. I’ve found myself bouncing around the room to almost every track of this album, dancing, headbanging, jumping, almost trashing things because of the happy emotions it fills me with. It’s a party album. And if Lordi keep making albums like this, they sure as hell are on the right track. And – bonus points for no curse words! Way to go! I must give a special shout out to my personal favorite on this side of the album – “Sick Flick”. It’s absolutely amazing with the big choruses that makes you dance around the room as if you were being cast in a sick flick.


I will admit right upfront – When learning about the album, and how it was to become with two sides – one being a more fun side, and the other being more of a story and closer to “Deadache” as far as style goes, I was more interested in this side, and let me tell you this – it did not, I repeat – it did not disappoint.

When the opening track, “SCG:VIII” starts and… The first time I listened to this album I was out walking in the trails in the forest, and it was rather close to midnight. And when this opening track started, and the enchanting notes of it reached my eardrum, it felt like I stepped into an enchanted forest, like the world Pandora from the Starshine games. It felt like I could see and even feel the magic purple glittering mushrooms pop up, fairies waiting around every corner, see glittering rays of light slipping through before the threatening guitars starts, which made me look over my shoulder out of fear. Now this is how to properly compose music.

The album starts off in a way we have never heard Lordi before – heavy riffs with pounding drums, I had to make sure I was actually still listening to Lordi and not some average powermetal band and I basically stood there with jaw dropped in awe. This is beyond amazing. Seriously, holy hell! It didn’t get any worse when I noticed the song, and the whole part of this album, has a bit of Avantasia vibes – changes songs within the songs to move on with the story.

The album continues on like this – moodchanges in the various songs, mostly to accompany the lyrics. I’d want to say that the whole album is a lot in the style of Avantasia – as far as composition and structures are made, so if you’re a fan of “The Metal Opera” I’m pretty sure you could appreciate this, especially seeing this album is also a lot heavier than what Lordi usually does.

So, as most of you may know – Demonarchy is the tale about a group of monsters – The Witch, The Vampire, The Werewolf, The Zombie and Nosferatu, to mention at least a few, that are all coming together to work in the great Demonarchy – the unholy gathering. The story goes through the entire album with it’s ups and downs, and with plottwists that will make your eyes pop, despite being a fairly short tale to tell in only seven songs.

But, with that said, this is what they should do. Seriously. “Theaterror” is all fun and games, but seriously, albums like “Demonarchy” is what Lordi should do. They should write albums based on stories and have comic books come with them. That could really be their call. “Demonarchy” is absolute perfection from start to finish, and I just love this side so much. I want to give an extra shout out for the songs “Demonarchy” and “The Night the Monsters Died” – simply amazing.

Lordi has finally, finally landed with this one. I never thought I’d ever say I liked an album more than “Deadache” – but here it is folks. “Monstereophonic” is slowly, but surely claiming the top spot, and I’d dare to say that this is one of their best works to date. For once, I can very very warmly recommend you without any shame to get this album – you will not be disappointed. Nino Laurenne, he’s a magic worker. The magic he’s done on this album is amazing.

(Label: AFM Records)

CDON I Amazon I Ginza

// Sara
* = So.W.C.A (Song Without a Cool Acronym) = “Let’s Go Slaughter He-Man (I Wanna Be The Beast Man in the Masters of the Universe)”


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