Promised Land of Heavy Metal is a documentary about the history and philosophy of Heavy Metal and how it became such a big deal in a small country called Finland.
We tell the story of Finnish Metal, from its early “underground” days to the present success stories, by interviewing famous musicians, experts and events organizers, a psychiatrist and a doctor of theology. The film takes us literally from the graveyard to the Finnish President’s palace!
Why is Metal a religion for so many? What are it’s links to satanism and ritualistic murders? What made Metal mainstream in Finland? Why does the Finnish Church have Metal Masses? What’s the future of Metal, after LORDI won the Eurovision song contest and even the President approves? We hear strong opinions: some see Metal as the new folk music, while others detest it’s commercial aspect.
The film is narrated by Kimmo Kuusniemi, a filmmaker, Sarcofagus guitarist and a forefather of Finnish Metal. Kimmo has lived in England for 16 years, and sees the current popularity of Heavy Metal as a strange phenomenon. He was the one who fought for the metal message 30 years ago! What happened in Finland in his absence?
One of our aims over the years has been to prove how the vital undercurrents of Finland produced cultivated metal sensations over the years from the earliest heavy metal days, best exemplified by the inimitable Sarcofagus, to thrash and the Finnish death metal movement, finally creating a discharge of consciousness that erupted in mainstream metal sensations all over the world, leaving most of the more focused and gloomy explorers to repose in the depths.
Kimmo Kuusniemi, the founder of Sarcofagus, the earliest Finnish metal band, has aggregated his unique vision into a documentary giving sporadic but meaningful glimpses into metal culture in search of the ultimate question: why?
It would have taken a mad 
How did Atheist do it? While fans may argue for the technical aggression of 
Neo-classical hardcore/thrash riff master Andreas Kisser is not yet in the band so his space is filled by the chaotic and fragmentary lo-fi signals of Max Cavalera’s unstable staccato rhythm guitar and the bursting leads of Jairo G., who later joined 
After the backfire of 
rituals, hyper-exaggerated pauses and gestures, horror organs, chanted spells and minimal doom riffs almost like going for a parody of satanic metal through the ages. However, the songs are joyous, exhilarating, morbid and alive with unholy fire. The guitarists use their knowledge of classical guitar and oriental scales to wrap the death metal themes in a progressive procession of movements that seem to mimic an inverted 
As much of the northern hemisphere is being overwhelmed by the onslaught of winter, the flames of Hell are rising to consume the south at summer’s peak. Still, the hardened souls of Black Metal warriors remain unfrozen, and 
ObscuraHessian: The sound of the full-length is naturally better as there’s more space between instruments but you still managed to reflect an enclosed feeling which sounds like the music is passing through a million leaves and branches before it hits the listener. Did the demo receive any remastering before sent to be pressed for its forthcoming distribution?
In the abyssic southern lands of the Americas, an ancient force is re-awakening, as one of Chile’s best Death Metal bands prepares their next attack on this complacent world. After an absence of 9 years from the scene, within which saw the re-release of their last album, ‘
This week the hammer of Canadian malevolence returns to pound us mortals to shreds of cellular fabric, but we are far from the realm of cybernetic protoplasmas and progressive mayhem of 
NWOBHM-tinged evil dual guitars wail horror musics fogging the atmosphere when the pace slows down in “Night of the Living Dead” or “None Shall Defy”, the aggressive shout breaks occasionally into grunts of the demon and when the bands’ mania repels them from the older convention of thrash, they encode the music into low simple rhythmic Morse riff patterns that aggravate and counterpoint all the “happy” or “rock” sides of the music. Much mediocre death thrash was killed by their inability to meld high energy speed metal to nuances and fragrances of rotting corpses and stomped flowers but Infernäl Mäjesty does it with the stateliness of an apocalyptic wasteland – like a futuristic party band of a time when killing is the only law and cannibalistic 
