After an extended sabbatical entrenched in their own purgatorial state of inspiration and refinement the quasi-reinvention of Kuopio, Finland-based heavy metal/hard rock sextet MAUSOLEUM GATE manifests as familiar yet inarguably changed practicum per this higher energetic third full-length album. Sporting a freshly jostled set of minds in tightened collaboration ‘Space, Rituals and Magick‘ is arguably even more potently stated in its tuneful treatment of 70’s rock cum 80’s heavy metal where heavy psych and NWOBHM adjacent development create fresh adventure from familiar notions. While change is rarely at the top of any classicist fandom’s wishlist in this case we gain an even more connective, varietal and tightly writ version of their gig.

Mausoleum Gate formed circa 2008 between folks involved in a variety of local groups (Death Thrashers Kuopio, MetalHazard, etc.) with bassist/keyboardist Wicked Ischanius and guitarist Count LaFey being the primary songwriters as far as I gather. Original vocalist V-P Varpula offered brilliant linkage between early 70’s heavy psych comedown and 80’s heavy metal which the band’d put forth over the next decade, particularly on their self-titled debut LP (‘Mausoleum Gate‘, 2014). Their suggested interest in Uli Jon Roth-era Scorpions, NWOBHM in general, and their own keys-tapping epic heavy metal reverence contributed to a more patient nigh prog-rocking hand applied to album number two (‘Into a Dark Divinity‘, 2017) where you’ll find them in a more sombre, storyteller mood. That album stokes the part of my brain that lives for the existential dread of Atomic Rooster or even certain Manilla Road ballads, an inward-looking melancholy that’d still make a show of it. Consider all pre-2018 releases from the band as part of their Mark I formation and (eight years later) this new album a full Mark II development with a new vocalist, guitarist, and bassist while Ischanius now focuses solely on keys/synth.

As the band kick into two ~five minute keys-forward and buzzing anthemic pieces you’ll recognize vocalist Jarno Saarinen‘s tone as markedly different to that of Varpula. A late 70’s Ozzy-esque bite to his phrasing dictates the tromp through spaced ’til charged opener “Vision Divine”, a shout-along escalator ride which still very much reeks of the ancient dark heavy metal Mausoleum Gate are known for but with a more immediate stride off the jump. Not sure if I’m keyed into ‘Opus Eponymous‘ or frickin Black Magick SS‘ ‘Rainbow Nights‘ in reference to standout “Lucifer Shrine” but you’ll find similar traits within each per their choice of keys and the arrange of the song, probably the catchiest feature on the full listen for my own taste. Those two pieces make a great first impression as to what these folks are aiming for so many years later, speaking to more exuberant blasphemies rather than ‘epic melancholic’ tonality prior, and this feeds some earworming trait up front.

“Sacred Be Thy Throne” is otherwise the one to connect old with new sensibilities more completely from the kinda Vincent Crane tinted organ taps up front to the slowly ramped build in stages ‘Space, Rituals and Magick‘ finds its peaking stamp within and some of the best work from Ischanius to date. Without a doubt Side A initially felt like a whole new band but as each song warmed in mind most all of the changes made to Mausoleum Gate‘s gig generally make sense within their realm.

Over on Side B “Shine the Night” is just ok, doesn’t quite recreate the glow of “Lucifer Shrine” through similar means and is quickly found in the shade per the title track (“Space, Rituals and Magick“) with its early 80’s rocking riffs and wobbling n’ bubbling synth layers circling overhead. You’ve gotten the idea by now that the full listen should prove a pleasure for anyone seeking auld heavy psychedelic/progressive rock sensibilities and aesthetics given to heavy metal stride, this is still the band’s signature emulsion of forms. If you’re keen to all that then the sleepier chill of “Witches Circle” playing the album out shouldn’t be too out of line, though it feels more like a detour than a grand album closing moment, much as I do appreciate the dueling guitar solos and prog-juiced symphony of keys whirling about. It is an odd point to end on as they’ve not set precedence throughout but if you’re a fan of, say, ‘The Guessing Game‘ you’ll likely be on board for the closer.

Mausoleum Gate once again prove themselves a memorable troupe in terms of songcraft, achieving tuneful results rich with personage and ear-catching choice of tone and timbre. While there’ve been myriad changes to their mechanism over the last several years they’ve yet retained the core experience of their work through consistency of voice rather than absolute form. You’ll know what you’re generally in for as an existing fan the moment you catch the cover art from longtime collaborator Timo Raita but you’ll ultimately walk away with a different shard of their signature in mind. A moderately high recommendation.

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