Somehow amidst all the extensive touring they have been doing, celebrating the 20th anniversary of ground-breaking album ‘Tales Of A Thousand Lakes’ Finnish workhorses Amorphis found time to hole up and record their new 12th studio album. Laid down at Fascination Street under the very watchful eye and ears of Jens Borgen the band were to all intents and purposes given his intensive treatment in a fashion that perfection was going to be the only outcome. Normally with the band we get that anyway and their albums are always top of their game as far as I am concerned. Given that extra push though one would expect something pretty spectacular and after consuming this album over the last month and a bit I’m glad to say that is exactly what we get.
Armed as ever with lyrical output from Finnish artist Pekka Kainulainen we dip back into the Kalevala for the narrative side of things and the title of the album does indeed allude to a cloud that we are living under, one that’s a constant ecological threat of our own making. One thing I have always noticed about Amorphis is the strength of the opening songs on their albums, they are designed to hit you straight between the eyes and here the title track is no exception. Leading in with keyboard melody, which could only belong to one band, things build up gradually into a near rapturous and upbeat melodic death metal master-class before we even get to Tomi’s dulcet clean vocals. This gets you in its grip and doesn’t let go, by the time some death growls come in you should be slamming your fist and banging your head and the melody will be forever more embedded in your head to rear up again over repeated listens like an old friend. Add some head-spinning progressive flourishes into things and it’s truly a number to leave you dizzy. Thankfully though the band manage somehow to keep the impetus up over the following 9 tracks, weaving deftly and injecting many different mood, emotions and melodies into things making this anything but standard melodeath.
A hefty stomp and guttural growls accompany ‘The Four Wise Ones’ as the melody twists and turns around it all and some folk like motifs entwine around everything adding a sense of the fantastical to the myths that are being recanted. Nothing is simple here, there’s lots going on in the background but it is done in such an accessible way any complications will only embellish it over repeated listens whilst the songs themselves will ensnare you straight away. Other musicians join in and add their own touches such as flautist Chrigel Glanzmann from Eluveitie and some extra percussion from ex Opeth sticksman Martin Lopez. Songs are generally trimmed of fat and never overstay their welcome at an average 5 minute mark and of them it’s near impossible to pick a favourite, this is one of those albums where the best track is the one you are currently listening to.
‘The Skull’ is a cracking number and one with a real retro and vintage feel about it at times, lightened by some clean sweeping vocal parts and some moody instrumental noodling which eventually flies into some delirious ‘up and down the scales fretwork. First single ‘Death Of A King’ has Esa playing with Oriental scales with a vintage Coral sitar and really takes you off to another time and place far removed from icy Finland but still retaining the groups unmistakable swaggering nuances. Every track here could essentially be a single they are all that strong, ‘Sacrifice’ for a start is short, compact and beautifully constructed with the song title being used to strong effect as a chorus line. The angry roars on ‘Dark Path’ turn this one into a real pounder as it twists and turns down all sorts intricate passageways with hooks and snares laden down to capture you than you every step of the way.
There seriously is not a duff moment here and this is an album that has the listener in its grasp every step of the way. From the dark prog of ‘Enemy At The Gates’ to the up tempo folky flute flourishes of ‘Tree Of Ages’ it has ‘classic’ written over it throughout. By the time we get to the last song ‘White Night’ a fitting and dramatic finale it’s almost impossible not to play it all over again, something that I have done on a couple of occasions.
This comes pretty much as close to perfection as it gets and is one of the most enjoyable and complete albums I have heard in ages, one that is without a shadow of a doubt going to ride high in my top ten of the year.
(9.5/10 Pete Woods)
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