Turbo’s Tribunal – Mills Of Tribunal Review

After a particularly strong 2025, the bar is high for traditional metal in 2026. And the debut from Turbo’s Tribunal, Mills of Tribunal, just clears it.

The band Turbo’s Tribunal is but one Danish man, Andreas Thunbo. To its credit, Mills of Tribunal very much sounds it. Singular in vision, the album draws from a similar well of influences as a like-minded band such as Helvetets Port, though perhaps less rocking, more distinctly metal, and more synth happy, with a not subtle hint of echo in the vocals.

Admittedly, I was not immediately bowled over by Mills of Tribunal. It is deceivingly layered for a one-person project. At first listen – in one ear and out the other. Fortunately, I chose to let it be my soundtrack at work for a while. You ever do that? Can’t make up your mind about an album that, on paper, should intrigue and entertain and satisfy some dark corner of your soul? Undecided as I was, I literally sat with it for some time, its layers slowly unveiling themselves over the course of a sunny but extremely cold afternoon.

If you meet Mills of Tribunal where it’s at – again, the singular vision of one Dane with an obvious love for warmly produced traditional metal that flirts quite heavily with synths and King Diamond-lite vocals – you will be pleased. After all, there’s a lot to like in the album’s relatively slim forty minutes, not least of which is the riffs. In true metal fashion, all but one of the album’s nine songs is announced by a riff. It’s a charming nod to tradition, and, more importantly, imbues Mills of Tribunal with purpose and distinction.

Mostly a mid-paced affair, Mills is fueled by a near-equal mix of riffs, synth, and other atmospherics. One of the stronger tracks, “Satan is Here” is perhaps the most obvious example of this. The riffs are a constant presence and leave a surprisingly soothing impression. But it’s the synth and vocal melody that give the song its character.

Mills of Tribunal shines brightest in those rare moments where the pace shifts. “The Sky Comes Alive” and “Men of the World” are prime examples. The former commits to a quieter, more pensive aesthetic; ultimately a more appropriate stage for Thunbo’s vocals. And the latter leans more prominently on the power of the riff; a simplified approach, to be sure, but one that gives the principal ingredient here its loudest voice.

Turbo’s Tribunal plays the long game on its debut; a slow, but impressionable seduction. Though that impression is perhaps too reliant on vibes, the approach is effective and its core pieces strong. One gets the sense that even better things await for those paying attention to Turbo’s Tribunal.