Am Universum

Am Universum continues Tuonela’s psychedelic / progressive trip, refines it, and in the end becomes something titanic. The dark, floating vibe of the previous album meets the optimistic, toppling, oceanic one presented here. I still have no idea as to what that cover art is showing, but it's become inseparable from the compassionate music it represents. If ever there was an Amorphis album to sound expansive and humble at the same time, then this would be it.

The album starts with “Alone,” which I’ll never fall short in praising. There are a few ways to express approval for this hit, such as calling it spacey, vast, atmospheric, introspective, catchy, and captivating. It’s one of my favorite Amorphis songs of all time, where the band reached what is essentially the furthest, most astonishing point in this direction. Pasi’s grainy cleans and accented yelling are supported by Koivusaari’s robust riffing and Esa’s echoing leads, building upon a front-heavy sound that’s virtuous and crisp. Thereafter, “Goddess (Of The Sad Man)” and its infectious hooks (Esa’s impressive, resounding lines after the first chorus are the best) comes in to segue the music into the rockier optimism the album follows as its doctrine. “The Night Is Over” and “Shatters Within” are the finishers to the opening winning streak, showing some more of the band’s capable, versatile writing. It helps that the drive and energy the band displays as they create moving compositions are committed with no reservations.

Amorphis’ formula around this time called for middle eastern / eastern influences to push it in a direction that morphed psychedelic / progressive influences with those of particular folk and philosophy. Written in an easily listenable form, what’s shaped is something diverse and inscrutable. The rousing “Forever More,” the emotional “Veil Of Sin,” the brazen “Captured State,” and the laidback closer provide the needed backbone for the album’s longevity. Thanks to those, Am Universum works both as something with strong individual momentousness and a full album’s cohesion. The latter half is less unforgettable and inspiring as the first three or four songs kicking off this album, but those are hard songs to compete with anyway.

Moving from the rhythm up, the drumming and bass work is dependable for what it’s supposed to accomplish. This is progressive, but it’s still a rock album with the Amorphis flavoring. The bass is succulently fat, with lines heard well under the unsoiled guitar distortion and opulent production values. Drumming at the back is generally steady the entire time with most of the showmanship a duty being Esa’s responsibility. While the drums and bass provide a backing that’s rather forthright, the experimentation with brass instruments and organ is tastefully applied. “Crimson Wave,” a song with uneven flow and catchiness, has proper placement of these experimental moments (such as that sax solo). The heavier “Difting Memories” is in the same situation with a meandering level of being entertaining until the second half of the song realizes that a faster pace would make the song heavier and more enjoyable.

Other than the above criticism, Am Universum rules. While that organ sounds goofy at times, this album’s pretty wrought with its seriousness. It’s got class in presentation, coolness in execution, and direction with its writing. Most of the time it won’t waste itself on inconsequential experimentation, either. Amorphis still remains melodic and determined with edge and personality to their fluid nature.