Amorphis – "Borderland"

You know it's gonna be good when they put a swan on the cover

Let it be said up front that I'm the biggest Amorphis fan I know. This in spite of the fact that, like with too many other fine groups, I haven't been keeping up with their latest handful of releases, the last one I heard being 2013's surprisingly splendid "Circle" album. Surprisingly splendid, because it seemed that they'd kinda hit a creative slump on 2011's all-round passable "The Beginning of Times".

"Borderland", though, is Amorphis as we know them. Opener "The Circle" leads with one of those, at this point, classic Minor-key delay figures from guitarist Esa Holopainen, inspired by later Pink Floyd as has been the case for most of his career. As any other fan will know, this is far from the most hard-hitting metal from either Finland or anywhere else, and the chorus doesn't even either stick in one's inner ear or pack much of a metal punch. But the whole thing is majestic and heartfelt. And even though we're in the melodic territory of metal overall, the melodies, although pleasant and easily digestible, are never those appallingly yucky boyband refrains as heard with especially American alleged metal bands for the last 20-ish years.

And if you want more hard-hitting metal, second single and follow-up "Bones" is it, filling a function much akin to "Greed" from 1999's magnificent "Tuonela" album. Vocalist extraordinaire Tomi Joutsen growls at his deepest and most animalistic on top of a heavy 1-2 drive and a vicious Hammond organ, doubled by a sitar theme as we've known them since the band's 1994 breakthrough, "Tales From the Thousand Lakes". And again: Even though Joutsen sings in his incomparably loveable clean voice during the chorus, the tonality here is more folk music than anything else – not disgusting high-school core. Just goes to show, metal bands can easily employ a delectable production along with features from popular music without selling out. Take notes, everyone; this is how it's done.

On third single, "Dancing Shadow", the album undeniably peaks. The jumpy drive and insisting guitar figure tell us that something big's about to happen, and the fantasy-like lyrics and tom-based drum figure during the verse add to the tension. And that chorus is one of the five best things I've heard not only this year, but also from the band overall: Joutsen's interchange between clean and monstrous vocals over that 16th-note, almost fucking disco-like, hi-hat – is brilliance.

Metal is more than music, but music is also more than metal. And Amorphis is, indeed, so much more than just metal.

In fact, this one tune says a lot about how underappreciated of a drummer Jan Rechberger is: He may not make himself noticed often, but whatever he does is perfect. As, by the way, are the melody and the harmony voices – you'd have to have misunderstood something as a music listener if this doesn't make you wanna wail along with thousands of other fans, lazy draft Beck's raised towards the twilight sky on a warm Wacken evening.

Although the triplet-feel uptempo of "Sun to Sun" keeps up the pace, we have, as mentioned, peaked at this point – "Borderland" being one of those many side 1 kinda LPs. This doesn't mean that the rest isn't worth listening to, though. "The Tempest" is a minor stand-out, building patiently from an initially clean and acoustic western guitar to a monumental C-section plateau built on those folk-y elements that Amorphis have long made their own. And even though first single "Light and Shadow" is initially based upon a four-chord progression that's dangerously close to being those same four fucking chords that got way too overused since the 90s, its refrain is irresistible:

"I spread my arms and clenched my fists
I listened and I closed my eyes
To recognize the balance
I recalled the words of ancient seers"

And check out that break with the standalone piano theme: As neat and delicate as it is in supposed metal surroundings, it could not have been done more perfectly. As I've been saying for fucking decades now: Metal is more than music, but music is also more than metal. And Amorphis is, indeed, so much more than just metal. Just like with any classic cut by, say, R.E.M. or Bruce Springsteen, you could not add or remove anything to improve upon what's going on here.

Much has been said about Amorphis' long-standing flirtations with prog metal, and while not all-out prog, the natural 7/8 time of "The Lantern" gets close, and the triplet drum rhythm and hypnotizing guitar theme of the title track unmistakably sound like this one little band, name of Tool. Much more so, said title track builds up with all the attentiveness and patience of, if not Tool, then at least Amorphis themselves on another title track of theirs – that of their esteemed 2009 LP, "Skyforger".

Amorphis' 15th LP won't be counting among their greatest efforts. But anyone should still be able to appreciate that it only further cements their status as one of too few truly unique metal bands.

Zooming out, a lot of the material here sounds like the band is just plain having a nice time. The cool standouts aside, there are probably no future classics on "Borderland" except from, at least hopefully, aforementioned third single. One might consider this a point of criticism, and since that perspective is hereby opened, another is that the verse lines seem to be centred around lyrics first, melody second – as enticing as the lyrics are in their picturesque nature themes along with universal, elemental, and (dare I write it?) even spiritual imagery.

However, for a band like this who've perfected exactly melody without compromising anything, this is almost a moot point. No, "Borderland" may not be any masterpiece, but it is clearly both much more interesting and tasteful than yet another helping of sterile 9-string grooves over Beat Detective drums. I've used that exact phrase before in another review, and I wish I didn't have to.

So, Amorphis' 15th LP won't be counting among their greatest efforts. But anyone should still be able to appreciate that it only further cements their status as one of too few truly unique metal bands. And we're dealing with a genre where originality is all too often only to be found among either newcomers playing for 30 people in basements, or, conversely, among titans who haven't sounded original for decades since others have long elaborated upon what they helped create.

I hereby submit, however, that none will ever be able to elaborate upon this veritable niche of uniqueness that Amorphis have carved out for themselves.

Rating: 4.5 out of 6

Genre: Amorphis
Release date: 26/9/2025
Label: Reigning Phoenix
Producer: Jacob Hansen (Denmark representin'!)