Review by JD on March 16, 2018.

Canadian thrash… what a topic.  I love this British Columbia based band since they ripped on to the scene in 1986.  They are truly Canada’s finest unknown thrash act ever, The Mighty Infernal Majesty.

With the release of their now classic album None Shall Defy they showed just how hard this band rocks.  Blending traditional thrash with blistering speed and NWOBHM sensibility as well, the results took them across the globe and opening for many now famous acts. Then many line-up changes and constant break-ups and make ups made the bands life stagnate. Unholier than Thou was the bands second album coming almost ten years after the first. Coming in as seventy one minutes long thrash opus Infernal Majesty explode out to start with the blazing title track that sets the tone with chainsaw riffs that seem to break light speed. More songs come screaming one by one with military precision. Songs that shine through are the cranial pounding 'Gone The Way of All Flesh' and the neck breaking brutal 'The Art of War 'seem to be the stars, while the rest were not far off the mark.

Over production takes some of the power away from this release, although thankfully not by much. It’s the odd 9 year space between the debut and the sophomore release that also dampens the record – but again, very little.  This is an album worth owning if you’re a thrash fan.  This is one of the best, and its Canadian.  Who would have thunk it?  I would, but then again… I am Canadian.

Rating: 9 out of 10

Review by Adam M on May 28, 2012.

This is a wild and interesting adventure of an album that evokes the cover art of a jungle type atmosphere with a variety of vibrant colours within the songs themselves. The structures here are of a similar crazy nature to those of a band like Mr. Bungle or what was seen from the recent Sigh opus. It’s not traditional because the songs don’t often have verse and chorus sections that repeat, but go off on different tangents. The song-writing is still relatively tight throughout, though some sections are more memorable and work better than others.

The slight lack of consistency is what prevents this from being an absolute gem of an album, but it’s still excellent nonetheless. If the quality of the album standout 'Exit Strategy Of A Wrecking Ball' was upheld throughout the entire length of the work it would have been greater. That particular song busts out of the gate with a very powerful nature and manage to be a rollicking good time for the entire length. Some of the other songs become too silly at times to ever be as solid as that one. The majority of the album is still an amazingly fun time. The first few tracks are amongst the best on here and set the stage for an album that starts to wander into many different territories throughout. There are many different instruments used to give it this sound like it was created in the jungle. There are also a number of vocal choices ranging from singing to chanting to operatic vocals.

Overall, the originality and energy of this album is what makes "Pandora’s Pinata" worthwhile for fans of Avant-Garde music in general to check out.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8.5
Production: 8
Originality: 9.5
Overall: 8.5

Rating: 8.5 out of 10

Review by Adam M on May 28, 2012.

This is a wild and interesting adventure of an album that evokes the cover art of a jungle type atmosphere with a variety of vibrant colours within the songs themselves. The structures here are of a similar crazy nature to those of a band like Mr. Bungle or what was seen from the recent Sigh opus. It’s not traditional because the songs don’t often have verse and chorus sections that repeat, but go off on different tangents. The song-writing is still relatively tight throughout, though some sections are more memorable and work better than others.

The slight lack of consistency is what prevents this from being an absolute gem of an album, but it’s still excellent nonetheless. If the quality of the album standout 'Exit Strategy Of A Wrecking Ball' was upheld throughout the entire length of the work it would have been greater. That particular song busts out of the gate with a very powerful nature and manage to be a rollicking good time for the entire length. Some of the other songs become too silly at times to ever be as solid as that one. The majority of the album is still an amazingly fun time. The first few tracks are amongst the best on here and set the stage for an album that starts to wander into many different territories throughout. There are many different instruments used to give it this sound like it was created in the jungle. There are also a number of vocal choices ranging from singing to chanting to operatic vocals.

Overall, the originality and energy of this album is what makes "Pandora’s Pinata" worthwhile for fans of Avant-Garde music in general to check out.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8.5
Production: 8
Originality: 9.5
Overall: 8.5

Rating: 8.5 out of 10

Review by Emma on December 14, 2009.

Arkona’s latest release has pushed the concept of ‘epic’ to an entirely new level. The flood that is "Goi, Rode, Goi!" sweeps away any competitors vying for the title of ‘most epic folk metal album’. Arkona’s music has always had a legendary quality, and with "Goi, Rode, Goi!" it has reached a crescendo.

The highlight of the album was the vocals. You could say that for most of Arkona’s music, but the unique vocals are what really made me return to "Goi, Rode, Goi!" multiple times. Masha ‘Scream’ has managed to braze Death Metal growls and swelling Slavic-folk style vocal arrangements. One of the most noticeable differences between Arkona’s previous albums and their latest is the use of the folk vocal style. Masha voice unleashes a rich and deep calculated wailing that listeners have only received small glimmers of in past works. All guards are let down and the folk singing style takes over for a majority of the album. Guest male vocals also manage to make it into ‘Na Moey Zemle’ and wind up making it one of the most memorable tracks on the album as they contrast and communicate with Masha’s voice. ‘Pritchka’ offers a bit of respite from the drama of the other tracks; listeners hear Masha speaking, a momentary showcase of the beauty of the Russian language.

Arkona uses a particularly wide variety of instrumentation, including a violin on a number of occasions. A jaw harp, ocarina, whistles, tulnic, domrin, and mandolin are just some of the instruments featured. Members from other known Folk Metal bands contributed vocally and instrumentally. Not just one or two bands, you’d think the whole eastern European scene contributed. Members of Skyforger, Heidevolk, Månegarm, Ashaena, Menhir, Obtest, Svarga, Kalevala, Tverd and Rarog all contributed to "Goi, Rode, Goi!" All of these instruments provided greatly varied variety and texture that could never be achieved with keyboards. Combining musical forces worked greatly for creating a mythic feeling of ‘time before time,’ the trouble taken to find all real instruments paid off.

Before I end this review, I’d like to touch on the ‘epic-osity’ of this album. Because I don’t mean epic like ‘Never-Ending-Story-epic’ no. "Goi, Rode, Goi!" is full on "Return-Of-The-Fucking-King-Extended-Edition-Epic." Whew. "Return…" extended is 250 minutes. It takes a particularly devoted fan to want to sit down and watch the entire 250 minutes of "Return..." in one sitting. Such is the situation with Arkona’s "Goi, Rode, Goi!"’ which is 120 min. in length.
I write this because what keeps Arkona’s latest from being their magnum opus to date is the album’s length. Several tracks could have been cut out entirely as they did little for the album overall. Others were just a case of too many good ideas packed in too short a time. Further editing would have made a really concrete album. However, some may disagree and argue that it is simply the nature of epic music to be particularly lengthy. Either way, check "Goi, Rode, Goi!" out.

Categorical Rating Breakdown

Musicianship: 10
Atmosphere: 10
Production: 10
Originality: 9.5
Overall: 9

Rating: 9.7 out of 10

Review by Emma on December 14, 2009.

Arkona’s latest release has pushed the concept of ‘epic’ to an entirely new level. The flood that is "Goi, Rode, Goi!" sweeps away any competitors vying for the title of ‘most epic folk metal album’. Arkona’s music has always had a legendary quality, and with "Goi, Rode, Goi!" it has reached a crescendo.

The highlight of the album was the vocals. You could say that for most of Arkona’s music, but the unique vocals are what really made me return to "Goi, Rode, Goi!" multiple times. Masha ‘Scream’ has managed to braze Death Metal growls and swelling Slavic-folk style vocal arrangements. One of the most noticeable differences between Arkona’s previous albums and their latest is the use of the folk vocal style. Masha voice unleashes a rich and deep calculated wailing that listeners have only received small glimmers of in past works. All guards are let down and the folk singing style takes over for a majority of the album. Guest male vocals also manage to make it into ‘Na Moey Zemle’ and wind up making it one of the most memorable tracks on the album as they contrast and communicate with Masha’s voice. ‘Pritchka’ offers a bit of respite from the drama of the other tracks; listeners hear Masha speaking, a momentary showcase of the beauty of the Russian language.

Arkona uses a particularly wide variety of instrumentation, including a violin on a number of occasions. A jaw harp, ocarina, whistles, tulnic, domrin, and mandolin are just some of the instruments featured. Members from other known Folk Metal bands contributed vocally and instrumentally. Not just one or two bands, you’d think the whole eastern European scene contributed. Members of Skyforger, Heidevolk, Månegarm, Ashaena, Menhir, Obtest, Svarga, Kalevala, Tverd and Rarog all contributed to "Goi, Rode, Goi!" All of these instruments provided greatly varied variety and texture that could never be achieved with keyboards. Combining musical forces worked greatly for creating a mythic feeling of ‘time before time,’ the trouble taken to find all real instruments paid off.

Before I end this review, I’d like to touch on the ‘epic-osity’ of this album. Because I don’t mean epic like ‘Never-Ending-Story-epic’ no. "Goi, Rode, Goi!" is full on "Return-Of-The-Fucking-King-Extended-Edition-Epic." Whew. "Return…" extended is 250 minutes. It takes a particularly devoted fan to want to sit down and watch the entire 250 minutes of "Return..." in one sitting. Such is the situation with Arkona’s "Goi, Rode, Goi!"’ which is 120 min. in length.
I write this because what keeps Arkona’s latest from being their magnum opus to date is the album’s length. Several tracks could have been cut out entirely as they did little for the album overall. Others were just a case of too many good ideas packed in too short a time. Further editing would have made a really concrete album. However, some may disagree and argue that it is simply the nature of epic music to be particularly lengthy. Either way, check "Goi, Rode, Goi!" out.

Categorical Rating Breakdown

Musicianship: 10
Atmosphere: 10
Production: 10
Originality: 9.5
Overall: 9

Rating: 9.7 out of 10

Review by Emma on December 14, 2009.

Arkona’s latest release has pushed the concept of ‘epic’ to an entirely new level. The flood that is "Goi, Rode, Goi!" sweeps away any competitors vying for the title of ‘most epic folk metal album’. Arkona’s music has always had a legendary quality, and with "Goi, Rode, Goi!" it has reached a crescendo.

The highlight of the album was the vocals. You could say that for most of Arkona’s music, but the unique vocals are what really made me return to "Goi, Rode, Goi!" multiple times. Masha ‘Scream’ has managed to braze Death Metal growls and swelling Slavic-folk style vocal arrangements. One of the most noticeable differences between Arkona’s previous albums and their latest is the use of the folk vocal style. Masha voice unleashes a rich and deep calculated wailing that listeners have only received small glimmers of in past works. All guards are let down and the folk singing style takes over for a majority of the album. Guest male vocals also manage to make it into ‘Na Moey Zemle’ and wind up making it one of the most memorable tracks on the album as they contrast and communicate with Masha’s voice. ‘Pritchka’ offers a bit of respite from the drama of the other tracks; listeners hear Masha speaking, a momentary showcase of the beauty of the Russian language.

Arkona uses a particularly wide variety of instrumentation, including a violin on a number of occasions. A jaw harp, ocarina, whistles, tulnic, domrin, and mandolin are just some of the instruments featured. Members from other known Folk Metal bands contributed vocally and instrumentally. Not just one or two bands, you’d think the whole eastern European scene contributed. Members of Skyforger, Heidevolk, Månegarm, Ashaena, Menhir, Obtest, Svarga, Kalevala, Tverd and Rarog all contributed to "Goi, Rode, Goi!" All of these instruments provided greatly varied variety and texture that could never be achieved with keyboards. Combining musical forces worked greatly for creating a mythic feeling of ‘time before time,’ the trouble taken to find all real instruments paid off.

Before I end this review, I’d like to touch on the ‘epic-osity’ of this album. Because I don’t mean epic like ‘Never-Ending-Story-epic’ no. "Goi, Rode, Goi!" is full on "Return-Of-The-Fucking-King-Extended-Edition-Epic." Whew. "Return…" extended is 250 minutes. It takes a particularly devoted fan to want to sit down and watch the entire 250 minutes of "Return..." in one sitting. Such is the situation with Arkona’s "Goi, Rode, Goi!"’ which is 120 min. in length.
I write this because what keeps Arkona’s latest from being their magnum opus to date is the album’s length. Several tracks could have been cut out entirely as they did little for the album overall. Others were just a case of too many good ideas packed in too short a time. Further editing would have made a really concrete album. However, some may disagree and argue that it is simply the nature of epic music to be particularly lengthy. Either way, check "Goi, Rode, Goi!" out.

Categorical Rating Breakdown

Musicianship: 10
Atmosphere: 10
Production: 10
Originality: 9.5
Overall: 9

Rating: 9.7 out of 10