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██▌ Artist...: Amorphis ░▐██▌
░▐██ Album....: Halo ░██▌░
▓▐██ Year.....: 2022 ▓▐██▓
▓▐██ Rel. Date: 2022-02-14 ░▐██▓
▐██ Genre....: Metal ██▌░
░ ██▌ Label....: Atomic Fire ██▌
▐██ Source...: CD ▐██
░▐██▌ Encoder..: FLAC 1.3.1 ▐██▌░
▓▄████ Quality..: 44.1kHz, 2 channels ████▌░
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1. Northwards 5:30
2. On the Dark Waters 4:47
3. The Moon 5:57
4. Windmane 4:49
5. A New Land 4:36
6. When the Gods Came 4:56
7. Seven Roads Come Together 5:38
8. War 5:24
9. Halo 4:40
10. The Wolf 4:36
11. My Name is Night 4:43
55:36
Halo is AmorphisÆs 14th studio album and 2022 marks the 30th anniversary
since The Karelian Isthmus first graced this world, and at this point,
Amorphis sounds like no one but Amorphis.1 The base of the bandÆs modern
sound hasnÆt truly changed since 2006Æs Eclipse. Choruses and verses
feature a single guitar carrying a simple melody. The band operates with
a bass-driven and ebullient feel, with melodies that are just this side
of poppy but always subtly memorable. The writing is mid-paced, varied
enough to not feel repetitive, while featuring a strong Æ60s and Æ70s
prog feelùSanteriÆs keys and organ often sporting a particular patchouli
stankùand the delay pedal that made Tuonela and AM Universum special
affairs. Halo is the third record in this little trilogy (Under the Red
Cloud, Queen of Time, and Halo), and it helps to think of it in this
context.
Halo is heavy and bombastic, sounding like the natural conclusion of the
bandÆs two previous albums. The combination of Under the Red CloudÆs
heavier approach and Queen of TimeÆs orchestral adventures offers the
base for a very enjoyable listening experience. The first leg of HaloÆs
sound, then is orchestration. Queen of TimeÆs orchestrations were
dominant in the mix and strongly reminiscent of Orphaned Land. Here,
though, the tracks that use orchestras and choirs most effectively are
the ones that use them as exclamation points (ôSeven Roads Come
Together,ö ôWar,ö or the end of opener ôNorthwardsö). This adds drama
and heft, without making the album feel overwrought. And despite the
rumor that this material was ômore progressive,ö thereÆs a lot less of
the organ-heavy influences or The Beginning of Times-style flute solos
here than I had anticipated. Aside from a 7/8 portion in ôWindmaneö and
the bridge in ôOn the Dark Waters,ö however, IÆm not sure what people
referring to.
As a continuation of the bandÆs last two albums, though, BogrenÆs
production smooths out the edges on Halo too much to make it feel as
heavy and epic as it is. During this whole period, one of the defining
features of Amorphis has been the increasing prominence of TomiÆs
growls, yet at times the production on Halo feels so smooth that one
almost doesnÆt notice that this album is just as heavy as the bandÆs
classic material (ôWar,ö for example). In fact, there are times when I
miss the more raw Peter TΣgtgren production and the heft that it lent
the genuinely heavy material on Circle. The sparkly, clean tone
complemented the songwriting on Queen of Time, but I think that
undermines what is, at times, a genuinely dark album.
And Halo is a dark, heavy record whose real motor is in the rhythm
section. The bandÆs death metal riffs are made even stronger when it
feels like JanÆs kick drum is actually being triggered by OppuÆs bass
(ôNorthwards,ö ôA New Land,ö or ôWhen the Gods Cameö). And throughout my
dozens of listens to Halo, IÆve been struck by just how important the
rhythm section is to the Amorphis sound. By musical voice, I mean that
Oppu has one of the most unique and instantly recognizable approaches to
his instrument in metal. I use the words ôebullientö or ôbuoyant,ö
because this is part of what gives Amorphis its bouncy, folky feel that
theyÆve sported since Tales. While the aforementioned tracks find the
rhythm section playing it straight, so much of the bandÆs sound is
rooted in unique bass choices. He syncopates and walks where other
bassists wouldnÆt (the bridge of ôWindmaneö), uses jazzy ôswingsö in
unexpected places (ôWhen the Gods Cameö), and works in lockstep with Jan
on every track.
I (or Druhm) have reviewed every Amorphis release since 2011, yet I
sometimes have struggled to appreciate the bandÆs new albums in the
moment. This has to do with the bandÆs craftsman-like consistency.
Rather than having a few songs that truly stand outùand then
occasionally producing an album where everything is of that same
excellent qualityùAmorphis drops albums of impressive quality with
regularity. Halo is yet another impressive album from one of heavy
metalÆs premiere acts. Where this album is in the pantheon of Amorphis
records will take time to tell. But I worry that I, once again, am not
even truly appreciating the brilliance right before my eyes.
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