Finnish hard rock outlaws Serpico are back with a new album, “Dressed in Flesh,” which, I dare say, is their most unapologetic and genuine work to date. Out on the 9th of February, this nine-track beast of a record is a hard-hitting rebellion against the overly produced, soulless, and personality-lacking music that seems to flood the contemporary airwaves. By opting for the warm, organic sound of analog tape instead of relying on the safety nets of technology, this band has somehow managed to tap into something that, in this day and age, is becoming a rare commodity: the soul of a performance. Let me take you through the dirt and glory of this rocking record.

The album begins with “Hard as a Cannonball”. The song doesn’t wait; it launches into a sharp snare sound that is immediately followed by a high-voltage twin-guitar harmony riff that sounds like it’s bleeding through the speakers. This is a “David vs. Goliath” anthem for the modern age. The song’s use of the “cannonball” metaphor is not about weight and toughness ; it’s about unstoppable momentum. The song is about being thrown into a fight you never asked for and being the cannonball rather than the target. The impact on the listener is visceral and evokes the “fight or flight” adrenaline response. Vee Dour’s vocals are stretched to the limit and sounds like he’s shouting over a literal storm. The bass is mixed high and gives the song a “clanking” metallic sound that makes the guitars sound that much sharper.

However, “Rock n’ Roll is Not Dead” changes pace with the sound of gears shifting and a revving engine, which quickly gives way to a funky beat of a drum and a guitar slide. It is reminiscent of a muscle car from another era speeding down the highway on a sun-kissed day. It is their mission statement, and it is their way of saying to all of their detractors that rock n’ roll is very much alive, despite their claims to the contrary. It is all about the “sweat and attitude” that defines rock n’ roll to its very core. With this song, the band isn’t just declaring that rock n roll is alive but, they hint to the fact that, they are willing to do whatever it takes to keep it alive. The musicality of this piece is defined by its “loose” style, so much so that you can actually hear the natural resonance of cymbals, as no samples were used in their production. The vocals are brash and in your face, with “gang vocals” in the chorus that make you feel like you are part of a raucous group of people.

“This Song” gives the into of having run of high-octane songs with a haunting clean electric guitar riff with a slight “wobble” from analog tape saturation and the addition of soft hi-hat percussion. The theme is a meta-commentary on the emotional content of music in general and the way a simple melody can be a vehicle for the listener’s own memories of loss or love. It’s very personal and is the “heart” of the album as the character uses his song to say the things that was hard for him to say. Vee Dour has a surprisingly wide range and shifts from a low smoky baritone voice to an emotional belt. The guitar solo is not technically showy but rather has a melodic “crying” sound akin to the vocals. It’s a gut-check for the listener and provides a “breath of air” from the other songs.

“Lightning Strikes” opens with the sound of low bass feedback and a tribal beat on the floor tom, which creates tension before the jagged, “stuttering” guitar riff crashes in on silence. The subject matter of “Lightning Strikes” is the capriciousness of fate, using lightning as a metaphor for those life-changing events, either calamitous or redemptive, which strike at random. In this case, the moment is significance is when the character in the song meets the woman of his dreams. The musicality is electric, and the drums sound almost physically tangible, with the sound of the wooden “thud” of the sticks on the skins. The guitars are bright and sharp, adding to a sense of tension and release. The effect is one of constant alertness, keeping the listener on edge until the heavy percussive weight of the chorus drops in.

Up next is “Iron Boots”, which  opens with a heavy “stomp-stomp-clap” style of percussion intro, accompanied by a thick, fuzzy bass sound that feels like dragging something heavy across the floor. It is the heavy and most methodical-paced song on the album thus far. The lyrics are about the “heavy steps” we have to take to move forward when we are weighed down by expectation and adversity and being watched or monitored by a superior. It is a song about endurance and the psychological shields we use to get through a very turbulent road of life. The vocals are performed in a rhythmic, gritty tone that mirrors the “clomp” of the instrumentation. The analog recording captures the sound of the “air” moving past the heavy bass cabinets, giving it an incredibly grounded feel, like we have gained strength to walk through a brick wall.

“Sweet Rebel Darling” immediately grabs the listener’s attention with a high-energy “shout” in the style of classic rock. Vee Dour yells “Yeah!” followed immediately by a fast-paced guitar lick in the style of “boogie woogie.” The theme is a tribute to the free-spirited rebels, the “bohemians” who do not cut their hair and conform to the expectations of the rest of the world. It is the anthem of the misunderstood individual who is at heart a peaceful person but is considered a “public enemy” by the rest of the world. The guitars have a “twang” and “snap” that sounds like they are coming from an old guitar and amplifier combination. The vocals are full of unedited character and contain small growls and ad-libs. It is the essence of pure, unadulterated fun, mixing the danger of hard rock with the soulful “swing” of the blues which is executed perfectly

The seventh song is called “Out of the Grave”. It opens with a dark, cinematic atmosphere featuring a lone, clean guitar playing a minor-key melody with heavy reverb, followed by a slow, funeral-march drum beat. The theme is one of personal resurrection, rising from the ashes of a “dead” period of life, such as depression or failure, to find one’s “flesh” and identity again. This is the album’s most “epic” feeling track, utilizing a wide dynamic range that moves from a whispered verse to a guttural, passionate roar in the climax. The instrumentation builds into a massive “wall of sound” that showcases the warmth and depth only achievable through magnetic tape. It leaves the listener feeling redemptive and emotionally purged.

Next is the track “Magma Hound” gives the later part of this album a jolt as the song suddenly launches into frantic drumming before launching into a blazing fast tremolo riff. It is the most aggressive opening on the record. The “Magma Hound” is an image of a predatory burning passion, a passion so all-consuming and out of control that it burns everything in its path. The lyrics are raw and focus on the dark side of passion. The musicianship is fast-paced and technically proficient, with the most complex work by Snage in the solos as they appear to be spinning out of control. The end result is the frantic and burning passion that leaves the listener gasping for air as a stark contrast to the more melodic songs.

“Mayday” is the grand finale, and it starts with the rhythmic sound of the drums of a guitar harmonic, which represents a distress call with a low pulsing guitar drone in the background. The theme is an existential “S.O.S.” and is about the feeling of being lost in a chaotic world and the need to find a reason to keep moving forward. The character in the song lets his people know that he is there for them when they call out for help. It ends the album on a vulnerable note, indicating that living life to the fullest is the only way to react to the “Mayday” distress call. It has a massive stadium rock feel, with the analog process allowing the final sounds to decay naturally and hauntingly. It leaves the listener in a contemplative state, with a balance of aggression and vulnerability.

This album is not merely an exercise in nostalgia, however; rather, it is a defiant statement that rock music does not need perfectionism; it needs honesty, risk, and above all, it needs heartbeats. Serpico offers all three with an unbridled fervor that is akin to being struck by lightning. Listening to these songs has granted me the feeling of unadulterated joy that I have not felt in years; it is the sort of album that makes you realize what it is that you fell in love with when you first heard that distorted guitar riff. I am deeply and heavily in debt to the band for such an amazing and energetic masterpiece, and I am already eagerly anticipating what sort of musical fire this talented band will set next.

Stream the “Dressed In Flesh” album on Spotify 

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