Storming out of the (Serpent) Gates is a new classic heavy metal band from Finland, which will soon release its amazing debut album The Veil Of Darkness via Venomoon Records/ Inverse Records. It’s an absolute joy to listen for all fans of the solo Bruce Dickinson albums as well as classic, melody-driven heavy metal as a whole. We got in touch with drummer Juho Hakalax to find out more about the band.
Tell us how and when the band was formed and why there isn’t a full-time vocalist in the line-up yet?
-The project began as a long-awaited return to my roots. After years of exploring different genres, I felt a strong pull back toward old-school heavy metal, but finding musicians with that specific dedication was a challenge. That changed a few years ago when I met guitarist Tuomas Västilä; we were immediately on the same page and ready for the long haul. We’ve always prioritized quality, and finding a vocalist capable of delivering a world-class performance in such a demanding genre isn’t easy, even in a metal-rich country like Finland. This led us to collaborate with one of my idols, Antony Parviainen. He believed in the strength of the material enough to come on board in a session capacity, ensuring the songs received the vocal performance they deserved.
Speaking of Antony, who is known from Psychework and Machine Men, his voice has a very distinctive blend, really close to Bruce Dickinson. Did you consciously chose him and look for this particular style of singing?
-Our connection goes way back; we’re from the same hometown and used to practice in the same building during his Machine Men days. I’ve been a fan of his distinctive sound for a long time. He was always the primary choice for the vocals, though it took me a moment to build up the courage to reach out. Looking back, I’m so glad I did. Having a long-time hero perform on the debut is a dream come true. Beyond that incredible voice, he was a total professional and a pleasure to work with: a top-tier guy in every sense.
The Veil Of Darkness is a fantastic debut album, which sounds really fleshed-out and accomplished. How long did it take you to complete these compositions?
-Thank you! I’m glad the effort is being recognized. The timeline is hard to pin down because some ideas date back years – there’s even a section in one song written when I was only 15. While some parts were composed just before entering the studio, the foundation has been building for a long time. This has been a labor of love, balanced alongside daily life and driven by pure passion. We actually cut some material to ensure a solid, focused album that fits perfectly on a single vinyl. I prefer a tight, cohesive listening experience over an overlong record.
The songs in the album sound very close in spirit to Bruce Dickinson’s late Nineties solo albums and I don’t only mean the vocal resemblance but also the amazing melodies and guitar harmony lines and riffs. Do you think there is a risk of some old Maiden and solo Bruce fans just waving a hand with the notion of “oh, heard that before, don’t need a replica”?
-That’s a fair point, but for me, this has always been about the act of creation. From the very beginning, every time I pick up a guitar, I find myself playing original ideas rather than covering others. In fact, I’ve hardly ever learned to play other people’s songs, which is why I never consciously ‘steal’ or copy. My focus is always on what comes from within. We believe the band stands out because of these personal playing styles. As self-taught musicians, it was important that the album captures a human touch – that ‘authentic’ feel -without ever compromising on quality. We aren’t trying to be a replica; we are simply writing the music we love. We don’t see this as being ‘away’ from the modern metal scene or in competition with it – there’s room for everyone. We’re just carrying the torch for the melodic, riff-driven style that inspired us to start playing in the first place. Ultimately, a unique musical fingerprint is what makes the album sound like us.
Even if there is a great solo Bruce influence, the quality of all songs in The Veil Of Darkness cannot be denied. There are a lot of fresh ideas as well, and also great energy. What have been your other influences?
-The influences are a mix of everything I listen to, but the greatest teachers have been the people I’ve shared a stage with. Playing together in tight, sweaty rehearsal spaces allows you to truly absorb someone else’s style, emotions, and energy. That’s where the real learning happens. Musically, my roots are firmly in heavy metal, but my record collection is incredibly broad, covering everything from the chaotic freedom of free jazz to the raw intensity of black metal. Having such a wide appreciation for different sounds is exactly what brings fresh ideas into the music. It’s not just about one genre; it’s about the spirit of the sound.
What are the biggest difficulties and challenges for young starting bands nowadays? Finding the funding to record an album professionally, getting opportunities to play live or producing and distributing the album and merchandise?
-The hardest part is definitely balancing life and creativity. For me, songwriting demands a rested mind and the space to think, which is a luxury in today’s busy world. Doing things the right way, without compromising on quality, is expensive, but we’ve managed that by refusing to rush. Moving slowly through the writing and demoing phases allows the financial side to stay manageable. The beauty of being independent is that we aren’t beholden to anyone else’s schedule. The only pressure is internal, so it’s important to stay grounded and not burn out. Quality takes time, and we’ve learned to be patient.
You are from Finland and I know there is great support from the state in all Scandinavian countries for young artists – not just musicians, but there is also support, including financial, for even harder metal styles. Did you benefit from such opportunities?
-Maybe those opportunities are there for younger artists, but we’re already ‘old-timers’! (laughs) To be honest, we didn’t even consider looking for grants or state support; it just wasn’t on the radar. We probably could have explored those options, but there’s a certain sense of pride that comes with being self-funded. We built the budget through hard work, and knowing that every note was financed by our own dedication makes us even more proud of the final result. We wanted to prove that we could make this vision a reality on our own terms.
Tell us something about the lyrical topics touch in the new songs and also something about the creation of the cover artwork.
-The lyrics were written by a dear friend, Jegori Miinin. Interestingly, he played in my very first band, so collaborating here feels like a circle has finally closed. We finished something that was left incomplete years ago. The themes carry a dark vibe because both Jegori and I have faced immense hardship recently. That reflected directly on the visual identity—the idea that colors fade from life in the midst of deep despair. This inspired the album title and the choice to keep the artwork and promo photos in black and white. The cover art represents an imaginary place you end up in during moments of hopelessness; you’re standing at the gates, staring into the darkness and seeing your own mind transformed by bitterness. Despite the setbacks, we never gave up, and the song Metamorphosis is about that exactly. Dreams can carry you through the hardest times—we are living proof.
What does the rest of 2026 hold for Serpent Gates? Will Antony join you live as well?
-First and foremost, we’re taking the time to toast the finished album. We set out to make a quality record, and we’ve reached that goal. As for the future, we’re keeping an open mind but haven’t made any big plans. Because we worked with session players for parts of the recording, live shows aren’t currently on the map, but we’ll see what happens. Right now, it’s all about soaking in the accomplishment and letting the music speak for itself.
What are your most anticipated forthcoming releases in 2026?
-Of course, I hope to see some exciting new names rise up, and a surprise album from any of the legends is always welcome. But specifically, I’m eagerly anticipating new material from Scars Of Solitude. They are a brilliant, yet underrated band, and they’re wonderful people as well. Supporting that kind of talent is what it’s all about!
The Veil Of Darkness will be out on February 20th via Venomoon Records/ Inverse Records and can be ordered from HERE
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