Blind Channel – Painstream (Album Review)
Release date: 30 October 2026
Record label: Century Media Records
The Riff Doctor's Score: (08/10)
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Diagnosis
Painstream sees Blind Channel combining massive hooks, crushing riffs and raw emotion into a bold, infectious and polished modern metal comeback. The choruses remain enormous, but this time there’s a little more weight behind the noise.
Best Tracks: “Messiah”, “Stars We See”, “Into The Void”, “Diana”, “No Encores In A Swan Song”
Deep Cuts: “Types Of Killing”, “Me Versus Me”, "Ache"
The Full Review
Ever since bursting onto the international stage with their gloriously obnoxious brand of ‘violent pop’, Finnish outfit Blind Channel have made a habit of throwing nu-metal, alternative rock, electronic music and enormous pop choruses into a blender and seeing what comes out. Sometimes it’s brilliant, occasionally it’s a little ridiculous, but it’s rarely boring. Now, following a period away from the spotlight, they’re back with Painstream, their sixth studio album, and this time around there seems to be a little more going on beneath all that noise.
Coming off the back of 2024’s Exit Emotions, Blind Channel could quite easily have continued churning out the same radio-friendly metal anthems that have served them so well over the years. Instead, this album finds them digging a little deeper, exploring everything from personal struggles and uncertainty to the increasingly depressing state of the world around us. Enormous hooks, chunky guitars and slick electronic production are still present and correct. They’ve just got a few more things to get off their chests.
Opening number “Messiah” certainly sets the tone, introducing a darker and more thoughtful side to the band’s songwriting. There’s a sense of grandeur to the whole thing, with its themes of fear and uncertainty providing an interesting starting point for what’s to come. Blind Channel have always enjoyed making a big statement, but here it feels like they’re attempting something a little more meaningful than just writing another song destined for a festival singalong.
“Youthanasia” continues down that same road, tackling the uncomfortable realities of growing older and trying to make sense of an increasingly chaotic world. Meanwhile, “Stars We See” takes those existential worries and approaches them from a more optimistic angle. It’s a contrast that works nicely with the album’s concept, and one that suggests the band aren’t interested in wallowing in misery for the entire record. There’s plenty of darkness here, sure, but there’s also an underlying determination to find something positive amongst it all.
A couple of tracks here don’t quite work for me, unfortunately. “Scapegoat” is lyrically great but musically nothing special, and “Revolution: Now” would’ve been better left on the cutting room floor. It’s a shame, because everything else here is fantastic, and those two songs let the album down.
However, one of the more interesting moments comes courtesy of “Into The Void”, which features Of Mice & Men’s Aaron Pauley. It’s a collaboration that makes perfect sense: both bands have made careers out of combining heavy music with accessible melodies. The pairing is a particular draw for anyone who enjoys the heavier end of Blind Channel’ssound.
Speaking of which, “Diana” is where things get a little more confrontational. Exploring mankind’s seemingly endless appetite for conflict and destruction, it’s a reminder that underneath all the polished production and catchy choruses, Blind Channel still have a pretty substantial aggressive streak.
Then there’s “No Encores In A Swan Song”, which heads in a more atmospheric and emotionally charged direction. It’s exactly the sort of ambitious, cinematic alternative metal that Blind Channel have become increasingly fond of, and you can imagine thousands of people waving their arms in the air when something like this gets rolled out on the festival circuit.
One of the biggest talking points surrounding Painstream is undoubtedly Niko Vilhelm Moilanen stepping up as the band’s sole frontman following Joel Hokka’s departure. The loss of that familiar dual-vocal dynamic leaves plenty for him to take on. Niko’s combination of aggressive, rap-influenced delivery and melodic vocals has always been a huge part of Blind Channel’s appeal, but now there’s even more riding on his shoulders.
Elsewhere, guitarist Joonas Porko brings the chunky, nu-metal-inspired riffs that give tracks like “Types Of Killing” and “Me Versus Me” their bite, while bassist Olli Matela and drummer Tommi Lalli provide the muscular rhythmic backbone.
And let’s not forget Aleksi Kaunisvesi, better known as Alex Mattson, whose electronic textures, synths and production flourishes are essential to the band’s distinctive sound. It’s that combination of heavy instrumentation and electronic experimentation that makes Blind Channel so recognisable, and with Niko taking centre stage, Painstream represents an interesting new chapter for all five musicians.
Perhaps the most interesting thing about Painstream, though, is the message holding it all together. The idea that pain, frustration and difficult experiences can actually bring people closer rather than tear them apart is a surprisingly positive one, particularly considering how miserable the world seems determined to become. Following the band’s time away, that sense of rebuilding and rediscovering purpose gives this chapter a little more significance than your average comeback record.
Is it going to convince the most stubborn metal traditionalists? Absolutely not, but then Blind Channel were never particularly interested in winning those people over anyway.
They’re loud, theatrical, occasionally overproduced and completely unashamed of their pop sensibilities. And while a few rougher edges certainly wouldn’t hurt, it’s difficult not to admire a band that’s so comfortable doing things entirely in their own way.
Painstream might be built around suffering, uncertainty and the darker corners of the human experience, but there’s an unmistakable sense of optimism running through it all. Blind Channel have clearly still got plenty to say, and they’re determined to say it as loudly as possible.
Jack Merry for The Riff Collective
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