MUSIC REVIEW: Machinae Supremacy - “Machinae Supremacy”
The niche fanbase of Machinae Supremacy has been asking for some time, when will the next album be coming out? Well, good news! At the end of 2025, just shy of a decade following their last album, 2016’s “Into the Night World,” they announced a self-titled release for March 6th, 2026, followed by a Finnish tour in April. We’ve been surviving on the odd single now and then to keep us from dying of SID metal thirst, so I’m sure I cannot be the only one who was amped up for this album! Let’s dive into it, shall we?
In case you’re new here, I often like to use this first part to give a general personal history on the artist, so if you’d like to compare your taste to mine to see how many grains of salt to take with my commentary, this next paragraph is for you! After all, music is subjective! So, with that in mind, feel free to skip down to the next segment if you’re not interested in my personal history with Machinae Supremacy.
My introduction to Machinae Supremacy came in 2010, when my partner darted into the room and started singing, “I’m gonna do you a favor and not teabag you for your behavior,” at me while dancing around. My reaction, as a total geek, was, “Nuh-uh. Nope. Those aren’t the lyrics. I don’t believe you.” So he played the song again and proved that indeed those were the lyrics, and thus I fell in love with this band’s sense of humor, as well as the delightfully nostalgic use of chiptunes in my chosen genre of music: heavy metal.
We listened to a fair bit of “A View from the End of the World,” which I still place amongst the ranks of perfect albums, but then, I sort of forgot about them for a time, until “Phantom Shadow” came out in 2014. Immediately falling in love with that album, we then realized we had missed another release in between—“Rise of a Digital Nation” (2012)—so we had to catch up on that as well. Since then, I’ve gone as far back as “Origin,” but admittedly haven’t explored much of the original material. Generally speaking, though, there are very few songs in their overall discography that I’d skip if they came on. MaSu have been one of the most consistently solid bands I’ve discovered in my nearly 15 years of music journalism and 25+ years of metal fandom.
The Helsinki show on the Phantom Shadow Tour was the beginning of my career as a person who goes to all of Machinae Supremacy’s shows, having seen them twelve times—not bad, but I know other fans can boast far more. Anyhoo, this was before I journalisted everything, so I don’t actually have a report from that show, but I remember being immediately enamored with “The Second One” and the idea of a conceptual sequel song, so I left Nosturi talking about how they could have done any number of things wrong and it would have been fine, because they played “The Second One.”
My first interview was in 2015, during the era when I decided to start interviewing all the bands I liked. Machinae Supremacy have always stood out as one of the most fun bands to talk to, as well as generally some of the nicest people in the world, who actually lead by example when trying to make the world a better place. I also managed to squeeze the story from “Phantom Shadow” out of Robert Stjärnström too. Fingers crossed that we’ll find time to talk about “Into the Night World” one of these days.
Beyond that, I of course do my best to be an objective journalist, but this is one of my all-time top favorite bands ever, so perhaps you should take me with a grain of salt, because I might be inclined a tad in their favor. You may also hear my utterly opinionated takes on which songs would be cool to hear live.
P.S. I am a staunch believer that “Into the Night World” is a severely underrated album and has some of their most creative work. “Twen7y Seven” and “Last March of the Undead” are amongst their best tracks.
Check out my interviews here, from 2015, 2016, and 2022! Hopefully I’ll have a new one in 2026 too.
Okay, for those of you who are super impatient for me to get to the point? This album rules. Easily the most consistently solid release since “A View from the End of the World” back in 2010. It’s a 15-track album—pretty long!—and it naturally has a few moments that don’t hit as hard as others, but that’s just the ebb and flow of a decently lengthy release and I guarantee, fans are going to have a broad spectrum of favorites on this one. Some songs are going to punch you right in the heartstrings with the lyrics. Some songs are going to rock your pants off for the guitar work and catchy medleys. Sometimes you’re going to just marvel at the hard work and dedication Rob has put into his craft over the years. Sometimes you’re going to just bathe in a pool of chiptune bliss. Whatever floats your boat about this band, this album’s probably got something to scratch your itch. I have a lot to say about this album, but keep in mind that I still feel like I’m only scratching the surface of it. This isn’t an album I can sufficiently due justice to with only a couple of weeks’ time to listen.
First up, we have “Pendulum,” which is the definition of a perfect song. It has everything you need: gorgeous music, amazing mix and master, and lyrics that are exactly what most people need to hear in an increasingly distressing world. This is my found family’s theme song, meaning if you’re one of my people, this song is valid and relevant to you and our relationship. I have deep emotional connections to this track relating to my grief. Plus, to add a cherry to the top of the perfection sundae that is this song, it also has Ingeborg Ekeland doing the most out-of-this-world harmonizing that gives me full-body chills every single time… and the song is nigh 4 years old at this point. If you don’t already know it, for shame.
Surprisingly, of the singles that have come out in the years between, only two made it to the album, with the other coming up in track five. The cover of Essenger and Scandroid’s “Empire of Steel” and the fan anthem, “We Are the Ones Who Will Change the World,” both remain singles. I’m not sure about everyone else, but this was fortunate for me, because the two that made it were my favorites of the interim singles.
Following the familiar preliminary track, we’re then given three new songs, starting with “Sidescroller.” I really dig this track, as it upholds the good energy “Pendulum” starts things off with and keeps it going. It’s a quintessential MaSu song, insofar as it has great chiptunes, great vocals, great music—a common theme on this album. It opens with funky chiptunes, kicks up the instrumentation, throws in some gaming references for us geeks, and has a catchy, fun chorus. I have a frequent feeling that this isn’t a particularly stand-out track on the album, yet every time it comes on, I get amped up. It only goes to show how good the album is overall!
“Restless and Wicked” keeps the good vibes going. It’s got more of a drop in the chorus—they’re really good at doing that, giving some emotional punch with a hint of dankness. The stripped-down and punchy C-part is killer. This is yet another one that hasn’t stood out to me specially for any reason, yet I still recognize as a great track.
Next we enter the first really exciting swing on the album. “Endless” starts on piano notes and a ballad tempo, and then suddenly violin. Yessssss, please always keep playing with things. This is one of those tracks, like “One Day in the Universe,” that feels like… it’s a ballad but not quite. It’s got a bit too much pep in its step to feel like a true “slow song.” Great lyrics, as per usual, about feeling lost in endlessness. I could easily see this being part of the MaSuVerse, or being a one-off song, which I also love. Prepare to be surprised (hopefully pleasantly) by this one!
Then we have the 2023 killer single, “WARRIORS, pt.1 (Final Stage),” so surely you already know if you like this one. I sure do. It’s just so upbeat and the use of chiptunes is punchy as hell. There’s great live energy and the single’s cover is friggin’ cool. If you liked this single, you’ll surely love the whole album. Plus, how many empowerment anthems can one band write? I DON’T CARE, please never stop!
Next up we have the next new highlight for me, “Always Fight Evil,” which stands out mainly because Jonas Rörling (guitars) is singing the chorus and doing an absolutely phenomenal job of it. I could be wrong, but I feel like it’s been a while since he’s had a lead part, and I just love the way his voice sounds both harmonizing with and adjacent to Rob. They just sound cool together. For seasoning, there’s tasty little SID trills on top of the base meal of traditional heavy metal. If they’re playing this live, you’d better believe I’ll be screaming the chorus along with everyone else. OH ALSO it’s got great guitars in the beginning and one of the heavier segments on the album, so it doesn’t just have a killer chorus. I will cry if this isn’t on the live set during the upcoming tour. Even the bridges and C-parts are tight as hell. And the solo! I haven’t checked out the lyrics yet, but I suspect I’ll like them too per what I’ve caught so far. Truly, 10/10 song, no notes, this is absolutely going immediately on my Best of 2026 playlist.
“Pretty for the Monsters” gives me some echoes of “Action Girl,” but I’m not sure if there’s more to it than an association my brain concocted based on a theme I imagined. I think this one’s also got some more backing harmonies from Ingeborg Ekeland, which is of course always a gigantic boon. The chorus is straightforward and catchy, very pleasant and enjoyable overall. Also, there’s a very smooth guitar solo.
“LEGENDS” starts with more of those sweet, sweet chiptunes, and then absolutely rockets upward when it kicks off proper-style. There’s a muted quality to Rob’s vocals in the first half of the verses, but it returns to its full clarity each time they progress. When the chorus roars into, “Fire, hearts in our DMs tonight…,” I can easily imagine a crowd throwing the finger hearts up. I curse my untreated ADHD, wishing I had more patience to hone in on lyrics without being able to read them. We geeks love getting a nod in our direction. I can imagine this one being a fan-favorite, especially for people who like songs like “Republic of Gamers” or “We Are the Ones Who Will Change the World.” Not only is there a pretty fancy-pantsy guitar solo, it’s one of those MaSu songs that makes the band feel like a friend who’s got your back when you’re down.
“Wounds” stands out for being the other track that notably has Jonas on vocals again. Also, some of the fiddliest guitar work, holy crap. The bridge is very punk/metalcore, before a very rockin’, melodic chorus that brings the insane guitaring back in the background. I like the solo, where the guitar plays around with a few chiptune notes, not in a big rush, but definitely having fun. I can see this being a great song to play live, but also possibly a bit punishing potentially for someone (looking at you, guitarists), so I would forgive them for not including it, even if it’s a fun one.
The second new single from “Machinae Supremacy” was “Definition (Change the Ending),” which I already know has been pretty popular amongst listeners so far, so you don’t need me to tell you. Personally, I dig the dynamic shifts and focus on letting the drums lead, the ways each song segment blends into the next oh so smoothly, and how they keep things moving and don’t repeat anything longer than necessary. Also, full banger chorus. This’ll surely be another fun one live, with hands up during the chorus (assuming singles usually make it to the live set). It’s really powerful and Rob gets a great wail at the end. Hell yeah!
My present and immediate favorite new song on this album is “Psimerion.” I do not know what that means… I googled it and it directed me to this album, so I have to assume it’s a name they made up. Which, of course, makes me insane with lore lust. It starts on such a high note—a chorus intro—which is a really sneaky way to get me amped up. It then chills out into a very alluring and evocative verse, a deliciously dynamic bridge, that restrains itself so they can go back to the punch from the beginning of the song. Banger! Absolute full hype, I wanna dance until I break myself to this song. This is a play on repeat until you hate it song, I friggin’ love it. Also, also guitar solo, and I want to see Nicke Karvonen’s LED drumsticks to this song… I bet it’d be mesmerizing. Then, we just get catchiness to take us to the end. I love it!
“FATE of ALL” is a pretty dark turn after the very upbeat “Psimerion,” and of course should be at least a wee big familiar as the first new single from this release. Thematically, this song always invokes “The Fate of Man” by Star One (that’s one of Arjen Lucassen’s projects, with Britney Slayes singing). It occurs to me that there’s a fair bit of that almost Iron Maiden-y guitar chugging on this album, and Iron Maiden was my first love in metal, so I’ll never complain about that. Damn, this song is killer and it’s still not even in my top 5 tracks from this release!
Then comes the sequel, “WARRIORS, pt. 2 (New Game +),” which has isolated starting riffs before the drums crash in and Rob follows suit. More fun, more upbeat catchy energy, more alluring lyrics… this feels like another truly solid MaSu song. Again, it’s not one that’s jumped out at me, but it’s still overall great. I find no flaw or fault that would put me off it. Once again, just a big shout-out to the whole band for making fun riffs, solid melodies, and a generally well-put-together package!
“War Angel” is definitely the grittiest and most industrial/heavy song on the album. Melodically and tonally, its closest cousin might be “Beast Engine”—they musically feel very similar in their vibes. That said, this is leveled up. I love “Beast Engine,” but this is epic and dramatic on another level… the war angel feels like a final boss, and you know MaSu know their boss monster music. Definite penultimate track energy, and I am living for it.
We then wrap everything up with “WEAPON of CHOICE,” which starts out a bit synthy, before coming in with an alluring low-end and fantastic use of that signature SID sound. When it kicks off, I can just imagine the crowd jumping (unless it’s Finland… energy can be pretty stunted here, but I like to dream). This song has the finale energy of “Hubnester Rising,” but with the album/show closer energy you want that leaves you wanting more. And if you ever read my reviews, you know that I’m harping on about that pretty much all the time. Extra points for the stadium anthem chorus that I will once again insist on being allowed to scream live. MaSu are great at final tracks and this is a stand-out one. I feel a perfect balance between “this is the end this album needs” and “noooooooo… moooooore.” That’s exactly how I want—nay… need—my albums to end!
Albums like Machinae Supremacy’s “Machinae Supremacy” are proof that the modern system has everything wrong, and you shouldn’t push for art unless it’s ready. Don’t get me wrong, do push yourself to pursue your passions, but if you need to kick back and focus on family or school or work, or whatever you’ve got going on, that’s okay too. We fans can find other bands to listen to in the meantime. We can listen to your old material. We survived the wait for “Time II.” We’re still surviving the wait for “Winds of Winter.” Take your time, do what feels good and right, and then kick our pants right off our butts when you’re sure you’ve got something to share again.
Frankly, this album rules. It has everything I love about Machinae Supremacy: diversity of songs like in “A View from the End of the World,” which are consistent, so I can listen to the album for years and still find new things to love; a lot of punchy guitar work and generally excellent musicianship, like the best parts of “Rise of a Digital Nation” and some of the older albums; intriguing stories and deep, soulful lyrics, like “Phantom Shadow”; and it still plays around and tries new things like “Into the Night World.” And while I feel like I’ve successfully given a surface read of “Machinae Supremacy,” I nevertheless still feel like I’m going to need some lyrics and some late nights with this album before I can truly assess it. Perhaps all of my favorites will change by next month. Whether I write about it again is up to popular demand, but nevertheless, I look forward to my next gajillion listens-through.
Now if you’ll excuse me, I’m going to go listen again!
Tracklist:
Pendulum
Sidescroller
Restless and Wicked
Endless
WARRIORS, pt. 1 (Final Stage)
Always Fight Evil
Pretty for Monsters
LEGENDS
Wounds
Definition (Change of Ending)
Psimerion
FATE of ALL
WARRIORS, pt. 2 (New Game +)
War Angel
WEAPON of CHOICE
READ MORE:
Live Reports: Nosturi, Helsinki (2015); Nosturi, Helsinki (2017); Gong, Turku (2018); On the Rocks, Helsinki (2022); Sammiosali, Lahti (2022); On the Rocks, Helsinki (2023); Dark River Festival (2023); Ääniwall, Helsinki (2025)
Interviews: Off the Record (2015), On the Record (2016), Off the Record (2022)
Travel Blog: The MaSu Roadtrip (2018)
