Amorphis – Silent Waters

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Opinion on Amorphis varies. Not on whether or not they’re a good band. Near enough everyone agrees that they are. But on the relative quality of each album since the career-turning-point Elegy in 1996. Already new album Silent Waters is being hailed as the first great record since that milestone.

Elements can be heard that are reminiscent of Opeth, H.I.M., Monster Magnet and Deadsoul Tribe, but Amorphis shouldn’t be expected to be a sum of these parts. They’ve been doing what they do for 16 years, after all. They’ve copied no one.

The tracks on Silent Waters rarely seem to mix the elements above. For example, openers Weaving The Incantation and A Servant are pure Opeth. Whether intentional or not that’s how it’s turned out. The guitar tone, the big shifts from death vocals and heavy riffs to soft melody and clean vocals; all the things that have characterised Opeth for years. The title track, on the other hand, is a more H.I.M. style affair, with bright keyboards highlighting the mid-paced guitars and a low, soft vocal.

Towards And Against is the first track to offer up a mixture of sounds. A Testament style death vocal (the kind Chuck Billy used on Demonic and The Gathering) over jagged Deadsoul Tribe guitars which harmonise with a clean vocal later on. The Opeth sound returns on I of Crimson Blood but with less of the death vocals, a clean voice mixing elements Monster Magnet’s Dave Wyndorf and Deadsoul Tribe’s Devon Graves taking over. The muted guitars riding the bass backdrop is also very Deadsoul Tribe.

Her Alone initially seems to offer something new. The lead guitar melody sounds like it belongs on a piano and it gives an almost-out-of-place, but highly effective epic feel to the slow rhythms and the passionate Ville Vallo-esque lyrics. A piano does eventually take over as the guitars present a rolling triplet riff in the bridge. Enigma on the other hand is something different, and is undoubtedly the album’s highlight. The acoustic folk guitar melodies and harmony vocals sway behind a passionate lead vocal delivery. Think Borknagar‘s Origin album, only stronger.

It leads perfectly into Shaman, which has a very similar feel with the addition of drums and electric guitars. The vocals, with an added bit of throaty growl, sound a bit like Head-On‘s Mark Logan (actually, bits of Enigma sounded like Head-On’s Blood Flowers), but this only goes to add a bit more punch in the right places as the bridge brings in a tribal drumming and oriental-style flute (Deadsoul Tribe, anyone?).

Excellent displays of musicianship define the final two songs. The anthemic The White Swan pulls away from its Opeth guitar sound with a blazing solo, and the wonderful piano and acoustic guitar melodies of Black River close the album in better fashion that it perhaps deserved.

On first listen the album is breathtaking, but further plays start to highlight the similarities to other bands and this takes the shine off a bit. It’s still a strong album of good songs, played well, but each spin reveals less and less originality.

“ a mixture of sounds ”

Tracklist: Weaving The Incantation / A Servant / Silent Waters / Towards And Against / I of Crimson Blood / Her Alone / Enigma / Shaman / The White Swan / Black River
Special Edition Bonus Track: Sign

Photo: Ville Akseli Juurikkala | www.villeakseli.com

Written by Andy Lye
More: Albums, Progressive, Amorphis