Amorphis Albums (7)
What The Critics Say
In melodic death metal and symphonic black metal, the contrast between extreme and non-extreme elements is a lot like the contrast between what jazz musicians call "inside" and "outside" playing. Some avant-garde jazz favors an inside/outside approach; some avant-garde jazz favors outside playing from start to finish -- and similarly, whether a melodic death metal or symphonic black metal album makes greater use of extreme elements or greater use of non-extreme elements depends on the artist. Skyforger, it turns out, is a melodic death metal album that keeps the extreme elements to a bare minimum and is greatly influenced by progressive metal and power metal as well as folk metal. This late 2008/early 2009 recording isn't just slightly melodic -- it is very melodic -- and while Skyforger rocks aggressively much of the time, it is never flat-out vicious. Like a lot of melodic death metal albums, Skyforger offers a contrast between clean vocals and a deep Cookie Monster growl; the Cookie Monster, however, takes a back seat to the clean vocals this time. In fact, extreme elements take such a back seat to non-extreme elements on Skyforger that some headbangers will wonder if this 47-minute CD should even be called death metal. But then, Amorphis' willingness to try different things on different albums and their refusal to be pinned down stylistically are among their strong points. Jazz great Duke Ellington has often been quoted as saying that there are really only two types of music -- good and bad -- and while Skyforger is hardly ideal from the standpoint of a death metal purist, it is still an excellent metal album. Whether one describes this disc as melodic death metal or as a prog-metal/power metal/folk metal outing with some Cookie Monster growls, Amorphis should be proud of what they accomplish on Skyforger. ~ Alex Henderson, All Music Guide
What The Critics Say
After forcing their eclectic but often scattered sonic experiments to extremes of self-indulgence on albums like Tuonela and Am Universum (both of which still offered the odd great song, mind you), Finnish heavy metal godfathers Amorphis found their way back to songwriting consistency and economy on 2004's acclaimed Far from the Sun. A surprisingly focused amalgam of past and present, that album marked a measured return to Amorphis' heavy metal roots after years of apparent disownment, and set the stage for yet another compelling LP in 2006's even more unapologetically metallic Eclipse. Not that either one of the records could be called a death metal slugfest, nor a complete abandonment of those not-always-stellar but still necessary forays into other progressive musical realms, but rather mature and well-balanced statements, acknowledging the style that made the band famous in the first place. New songs such as "Two Moons," "House of Sleep," and "Born from Fire" offer driving heavy rock, frequently embellished with atmospheric piano passages, psychedelic organs, and, yes, those alluring folksy melodies that first distinguished Amorphis from the extreme metal pack. New vocalist Tomi Joutsen's expansive range of clean and dirty singing capably replaces those of longtime frontman Pasi Koskinen, whose unexpected departure coincidentally made way for rhythm guitarist and original vocalist Tomi Koivusaari to reactivate his cookie monster growl for occasional use here. As well as making for even cooler emotional contrasts within retroactive standouts like "Leaves Scar," "The Smoke," and the return to Finnish legend, "Perkele (The God of Fire)," this obviously answers the long hoped for, yet never actually expected, wishes of Amorphis' metal-minded older fans. And since even the listeners who actually enjoyed the band's more recent diversions are catered to here by mellower numbers such as "Under a Soil and Black Stone" and "Same Flesh," it's fair to assume that Eclipse contains the broadest appeal of any Amorphis LP yet. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
If we focus primarily on the non-bastardized jazz elements, like keyboards, rhythm section, or especially the guitar, then the album is Amorphis' crown jewel for creative composition. The album kicks off with the gentle keys and happy harmonics we've come to expect from the band with "Alone." The song meanders through thick interchanges of sound and tasty vocal lines before hitting a wall of warm, overdone pop sax. Fear not, as "Goddess" blasts the listener with Pasi's endearing vocal harmonies and their most memorable wall of keyboard sound in recent memory, while "The Night Is Over" recalls memories of the twin guitar/keyboard leads of "Against Widows" from Elegy. Speaking of that album, "Forever More" is the most folk jam fun these guys have had since "Weeper on the Shore," with its acoustic, upbeat feel and rhythmic propulsion. The nucleus of this album lies in the heart with "Crimson Wave" and "Drifting Memories," as both show the greatest strengths and weaknesses of the "brand new" Amorphis. The first moves with a wistful, driving, relaxed motion recalling the heydays of the '70s before exploding into a loud catchy chorus, bringing the band to near-perfection before it spirals down the drain with the Kenny G ending solo. The sax sounds a bit sweeter on "Drifting Memories," as the soprano sax warmly glides into pseudo-Middle Eastern sounds. Luckily, the keyboards and guitars sound effortless, saving the song from porno sax land. Here Esa and Tomi's patient performance pay off, as the textured guitars have never sounded better. This album is phenomenal, yet, as others have mentioned, sometimes unbearable. To go from the gut-wrenching sax solo, which begins "Veil of Sin," to the gorgeous U2-infused guitar of "Captured State" is misguided and irresponsible. Amorphis has abused its creative edge and pushed on untrained ears tactless jazz elements to try to improve their status as a creative band. Stick to what you know fellas, the flutes from Tuonela's "Rusty Moon" showed strength and promise -- use them. If each saxophone was replaced with a flute, or better yet African and Middle Eastern wood instruments, the album would probably be a near masterpiece of the rock genre. Few rock bands have ever mastered the saxophone with precision -- only King Crimson, Patto, MC5, and the Stooges come to mind. Even then, these bands were ingenious, using it sparingly and only in a hard bop or wild free jazz style. Please, Amorphis, spare those listeners who have experienced real jazz, and turn the creative wheels in another direction on the next album. You are oh, so close to your masterpiece, and Am Universum is proof of that. ~ Jason Hundey, All Music Guide
What The Critics Say
To stand out in a field where the obvious signifiers are the most common, and therefore the most clichéd, elements, one has to know when to try something different. Amorphis had already shown itself to be a more than competent end-of-the-century Scandinavian black metal outfit, but there were plenty of others equally able to say the same. The inspired turning point had two points of origin -- recruiting another lead vocalist, Pasi Koskinen, to sing with Tomi Koivusaari, and deciding to record an album infused with earlier Finnish folk influences, both musically and lyrically. The choice of lyrical inspiration, Finland's national epic The Kalevala, isn't necessarily surprising given how often metal of all kinds has favored tales of dungeons and grue. But Amorphis wisely eschew Conan the Barbarian grotesqueries in place of the often grim existentialism found in the original poems, more like a medieval northern Metallica (or even a Joy Division, if you like) than a prancing Dio. The result is a powerful release that, if anything, feels like an equivalent to Sepultura's own inspired combination of past and present, Roots. Esa Holopainen's use of sitar on certain tracks, like the opening "Better Unborn," as well as the continued use of keyboards shows the band avoiding some sort of retro-unplugged move -- it's still Amorphis ripping through things with a number of prog touches as they go, but wanting to bring all sorts of musical options to the fore (as with the folky dance break in "Cares," where the guitars almost sound Hawaiian). Koskinen's much clearer vocals nicely offsets Koivusaari's subterranean grumble, ensuring that the lyrics aren't lost in the flow. For all the darkness of the lyrics and delivery, there are some jaunty moments as well, like "On Rich and Poor," which for black metal is actually a pretty upbeat song, at least at the opening! With a gentle acoustic version of "My Kantele" closing things out, Elegy is an inspired leap forward. ~ Ned Raggett, All Music Guide
'Tales From the Thousand Lakes'
Release Date 7/12/1994
Tracks 14
Label Relapse
See Album Tracklist and Review
What The Critics Say
Bolder than The Karelian Isthmus and conceptually superior to later attempts at progressive but radio-friendly '90s metal, Tales From the Thousand Lakes might just be Amorphis' best recording. This record is heavy, yet never succumbs to the inane extremes common to the melodic death metal genre. The guitars and drums are in ample supply, and a rare attention to arrangement and production really sets this disc apart. The guttural vocal work isn't for every metal fan, but the neo-prog instrumental work and overall heaviness should impress those turned off by the throaty rants. In a possible attempt to widen the band's appeal, Tomi Koivusaari briefly sings, which doesn't exactly work out. These moments of confusion are short-lived, though, and they hardly blemish the release. The subtle addition of keyboards is a nice touch -- Amorphis' captivation with the instrument would soften later efforts. So even though Tales From the Thousand Lakes heralded a shift toward later, inferior recordings, the new and old are balanced precisely on this 1994 Relapse offering. ~ Vincent Jeffries, All Music Guide
'The Karelian Isthmus'
Release Date 11/10/1992
Tracks 11
Label Relapse
See Album Tracklist and Review
What The Critics Say
The Karelian Isthmus is one of the best early-'90s European death metal debuts. Amorphis previously issued some demos that were eventually combined into Privilege of Evil, but this 1992 release is the band's first fully conceived effort. What is most impressive is the high dynamic standard that the group establishes so early in its recording career. This is due mainly to the group's heavy and quite original riffs. "Black Embrace" and "The Lost Name of God" feature some of the most effective and yet surprisingly simple guitar signatures imaginable. By themselves, these compositions and performances would be enough to warrant a strong recommendation, but The Karelian Isthmus is more than a few nice guitar phrases. The husky vocals and tight drum performances also earn Amorphis high death metal/grindcore marks. A must for fans of this group's early, melodic death metal period, The Karelian Isthmus ranks among Amorphis' finest offerings. ~ Vincent Jeffries, All Music Guide
