I’ve been following Insomnium for several years now, since at least 2012. There’s something unshakably beautiful about their style. They recently released Netherworlds, an album that might have their most beautifully calculated atmosphere yet. It launched on October 16th.
Insomnium comes to us from Finland. I still remember seeing them live with Epica, Alestorm, and Destiny Potato in Cleveland back in 2012. I was instantly attracted to their fantastic guitarwork. But I really started loving their music with 2019’s Heart Like a Grave, which only increased with 2023’s amazing Anno 1696. For Netherworlds, their lineup is Niilo Sevänen on vocals and bass, Markus Vanhalam, Tomy Laisto, and Ville Friman on guitars and backing vocals, and Markus Hirvonen on drums. You’ll also hear three members of Amorphis on one track. Cover art is by Travis Smith.
The band plays melodic death metal that certainly ventures into progressive territory quite often. I’ve always felt like there’s a hefty dose of later Anathema in their sound, complete with the soaring emotions and cosmic tones. Their guitars are rich and melodic, their vocals are heartfelt, and something about the music just stirs my soul.
On Netherworlds, I think they’ve created their most poignant atmosphere yet. The band really brings the gothic vibes, melodic as always, but with some theatrical, poetic, and illustrious production and performance. It’s full of mist, strange serenity, and ritual. I feel drawn to it immediately.
The second half is my favorite of the two, I’ll readily admit. The album has ten tracks and hits the ground running with the haunting “The Cold Song” intro full of anticipation and poetry, and the excellent “Shadowlife”, classic Insomnium with clear guitars and a beautiful chorus. I love the call and answer between the clean and harsh vox on the chorus—so catchy!
The next three tracks are all rock solid winners: “Remembrance” featuring some punchy guitar licks and a slowly swelling atmosphere that is seriously infectious; “Gleam in the Black” giving us a heavy, steady Insomnium assault; and “The Hour Grows Late” bringing aboard Amorphis members Tomi Joutsen, Tomi Koivusaari, Santeri Kallio. Honestly, and this really surprised me, it might be my least favorite song on the album, though it is growing on me. I do love Tomi’s voice, and hearing him as the “siren” of sorts is a real treat. Overall, it’s an epic track that’s pretty lengthy, swirling with darkness and gentile light.
But the second half is my favorite, full of hidden gems. “Arch of the Sky” trades back and forth between spacious riffs and heavy energy; I love the extended ambient metal portions. So beautiful. “Pathways of the Night” reminds me of “Remembrance” because of how clear-cut the guitars are, and how driving and kinetic it is.
Then hits one of my favorite tracks, “Ethereal Sleep”. This is more cautious, feeling quite elegant, beloved, dreamy. I love the chorus, love the echoing halls of haunting sound. Such a beautiful song. Next comes “The Banished”, probably the heaviest on the album. It’s all riffs and crunch, dense and wonderful. I especially like it because of how it comes between, and completely contrasts with, my two favorite, more spacious tracks.
The closer “Journey’s End” is one of my all-time favorite Insomnium tracks. And maybe that’s blasphemous to Insomnium fans, I don’t know. It’s not that heavy. It’s slow, thoughtful, and features some pretty nuanced melodies. It also features spoken word. It is like the scroll of life rolling up. Like the close of a strenuous personal battle. Like the end of a memorable story. It feels like something Alcest would write. And I absolutely love it. It gives me chills.
Insomnium never miss, in my opinion. I won’t say Netherworlds is my favorite album by them, but someday it might be. I love the careful and purposeful storytelling, the gothic shadows, the space and beauty. It plays like a vivid dream that closes perfectly just before you awake. Give it a try.
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