Via Miseria IV is not the debut of an unknown artist trying to introduce himself from scratch. It is HOKKA’s first album, but behind it stands Joel Hokka, a voice already tied to Blind Channel’s international rise, now joined by Pauli Rantasalmi, a key historical figure from The Rasmus, and drummer Jimi Aslak. That context matters because the record does not sound like a young band searching for identity, but like a project born already carrying history, wounds, and expectations.
The album moves between modern rock, goth rock, alternative metal, and a very Finnish melodic sensitivity: dark, dramatic, direct, but not necessarily extreme. Its greatest strength lies in atmosphere. HOKKA does not try to compete in brutality, but to build an emotional space where pain, rupture, and survival become language.
The opening track, “Blackbird,” is a strong introduction: melodic, somber, and built with a big, almost cinematic production. It does not explode immediately, but it establishes the album’s tone. “In The Darkness” works better as a single because it has a clearer hook and a more accessible tension; it is one of the songs where the balance between darkness and melody feels most natural.
“Death By Cupid’s Arrow” introduces a more theatrical reading of heartbreak, with a title that could easily fall into the obvious, but works because of how the track blends drama, weight, and pop-rock sensitivity. It is not the riskiest song, but it is one of the clearest representations of the album’s character: emotional, dark, and built to connect.
The title track, “Via Miseria,” is the conceptual center of the album. Here, HOKKA sounds more certain about what it wants to say: pain as passage, misery as a path, but not as a final destination. It is an important song because it gives meaning to the album beyond the sum of its tracks. It is not necessarily the most immediate, but it is one of the most representative.
“Heart Said No” pushes the project’s more melodic and accessible side. It has single potential and shows that HOKKA can move into more radio-friendly territory without losing its somber aesthetic. In contrast, “Bon Apetit” brings a stranger and less solemn energy, though it can also feel like one of the album’s least integrated moments.
The second half contains some of the most interesting cuts. “Murder Ballad (Dying Flame)” stands out for its narrative and fatalistic tone; it is one of the tracks where the album allows itself to be darker without becoming excessive. “Angels Fall” expands that line with a more melancholic atmosphere, while “Serpent’s Song” adds a denser, more seductive shade before the closing track.
The decision to close with “Kiss From A Rose,” the Seal cover, is risky. On one hand, it can feel unexpected within the album’s concept; on the other, it fits the blend of dark romanticism and emotional drama that runs through the whole record. It does not surpass the original and does not try to, but it brings the song into HOKKA’s universe with enough personality.
The fairest consensus around Via Miseria IV is that it is a solid, well-produced debut with a clear visual and emotional identity, but still uneven in terms of songs. It has strong moments, especially “In The Darkness,” “Via Miseria,” “Murder Ballad (Dying Flame),” and “Heart Said No,” but also passages where the aesthetic carries more weight than the songwriting. HOKKA clearly has its own world; now that world needs to produce more undeniable songs.
