I hate when I have mixed feelings about a new album from a band I adore. I’ve been an Amorphis fan for a long time, and I don’t think it’s possible for them to make a bad album. However, as Borderland proves, they definitely can make an album without teeth. The record releases on September 26th through Reigning Phoenix Music.
The band has been active since 1990 and have been crafting epic albums the whole time. I mean, this is their fifteenth album! And it’s the first with producer Jacob Hansen, who produces bands like Amaranthe and Arch Enemy. So what we have here is a Swallow the Sun situation: new producer and tamer sound. The current lineup includes Esa Holopainen and Tomi Koivusaari on guitar, Tomi Joutsen on vocals, Santeri Kallio on keys, Olli-Pekka Laine on bass, and Jan Rechberger on drums.
Amorphis has long been known for their blend of death metal and progressive metal, with hints of folk and gothic. This album still bears those marks, but the sound is significantly softer and more keyboard-forward. The guitars rely more on rhythmic licks than on heavy riffs. Tomi’s vocals lean heavily towards clean, though there are plenty of harsh vox, too. The album is simply accessible and safe, whereas their older records required the listener to stretch and apply themselves to gain greater appreciation. Borderland is apt name for an album that tries to ride the edge. Even the official band photo, lacking the facial jewelry and more roughhewn look of the past, indicates that this is Amorphis playing dress up.
Look, I listen to all kinds of music and I love melodic metal as much as anyone. Amorphis have a signature sound, and this album circumvents that many times, balancing out the contrasts and dynamics into something more monotone, but you will notice that most of the Amorphis-isms are still intact, just downplayed. I understand that a band can’t do the same thing forever and once I accepted the changes, I found myself liking the album more. So, yes, it is a solid album, but it will certainly become a forgotten entry in their discography.
The album plays much the same throughout, many of the songs sounding similar. The singles are a good example. “Dancing Shadow” is a lovely song that I like pretty well, with a snappy rhythm and catchy chorus. “Light and Shadow” is one I actually adore for its keyboard orchestral flow and cinematic qualities. As much as I like it, though, it does feel like it would be a lesser song on one of their other albums. Now, “Bones” really gives me mixed feelings; I absolutely despise how Tomi repeats “Bones” over and over; I find it extremely cheesy. But the chorus is a delight and saves the song. You would be forgiven for confusing these tracks, though.
Out of the remaining seven tracks, there are a few I really like. The opener “The Circle” is pretty tame and lacks dynamics, but it has that familiar flavor still. “Tempest” is my favorite on the album, full of melody, light, and sweet guitar and synth solos. It’s a gem. The closer “Despair” doesn’t really impart the titular feeling, but it is a beautiful track with an orchestral finale. I do want to mention the title track, too, because it is really odd. It is pretty vanilla overall, especially the chorus, but there’s a segment in the second half that sounds a lot like Tool, and that threw me for a loop.
Anyways, diehard fans will probably accept this album with a kind smile but forget it within months. It has some good songs on it, but none of them approach any of the songs on albums like Queen of Time, Eclipse, or Silent Waters (don’t be fooled by the artwork, this album is nothing like that one). However, if you were somewhat disappointed in Halo, as was I, this album continues the band’s delving into that smoother sound. Overall, it’s a pleasant listen and that’s about it.
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