Tales From the Thousand Lakes (1994)
In September 1993, Amorphis entered Studio Sunlight to record their sophomore album,
Tales From the Thousand Lakes. Once again, they worked with Tomas Skogsberg, for this full-length that was based
on the Finnish national book "Kalevala". For one reason or another, it would take until September of 1994 before this album
was released. Whatever the cause, it was well worth the wait. This record marks one of those times when the cover art, perfectly,
suits the music and goes well to help establish the atmosphere.
It took a few years before I discovered Amorphis, but this was the album that introduced
me to these Finns. Oddly enough, I first heard this while riding back from a concert, with a friend of mine. I recall not
being in the mood to check out anything new, but as soon as it began I got quiet. I was staring through the T-tops of the
old Camaro that we were riding in, looking up at the stars and the moon. Unexpectedly, the music that filled my ears fit the
mood, quite well.
It begins with the piano/keyboard intro, "Thousand Lakes". The atmosphere created here
is peaceful yet cold. There's a mystical and, somehow, somber feeling. I would imagine this as the sensation one might feel
as they are passing from life into death.
"Into Hiding" starts with fairly slow, doom riffs. This is quite similar to what was
found on their first album, The Karelian Isthmus. The song does speed up, and it's worth noting that the production
is heavy, yet cushioned in a sense. It's not as abrasive as on the previous album, being kind of blunt rather than sharp.
Again, this works well with the peaceful feeling that permeates this record. This is very melodic and epic in nature. There's
a clean vocal passage that I absolutely hated, at first. I thought the guy sounded reminiscent of Axl Rose (and I still do,
in a way), but it has grown on me, over time. The main riffs of the song seem to be thrash-oriented, with a lot of power chords
in the background. The keyboard is used sparingly, adding the effect of some 70s progressive rock sound, near the end.
The melodies on this album do seem inspired by traditional folk music, almost having
a medieval vibe to them. "The Castaway" slowly builds up, getting catchier as it goes along. The riffs are almost hypnotic
and trance-like. This is somewhat difficult to describe, though I believe the band was called Progressive Death/Doom, around
this time, for whatever that is worth. The rhythm guitars maintain some sort of ominous feeling, as the lead produced the
hypnotic melodies. It all slows down, nearer to the end, leaving only the keyboards, drums and a distant lead 'solo'. This
leads into a very memorable melody which words fail to do justice to.
"First Doom" has a slightly darker feel, filled with the type of epic riffs that were
common in early Swedish Death Metal (as well as the first album from Amorphis). I read that the band had already 'matured'
so much by this point that they felt odd to put the harsh vocals on this record. It was as if they were somehow beyond that.
I, for one, am quite glad that they waited until the next album to abandon this vocal style, as it would have ruined this
classic. The closing riffs seem to be drenched in sorrow, though not in a terribly overt manner.
The next song was popular enough to get its own E.P. a short time later. "Black Winter
Day" starts out with a keyboard, and has a slightly up-tempo feel, compared to the previous song. It's still very epic and
does well to take the listener beyond the real world, into the realm depicted on the album cover. Again, there's brief use
of clean vocals on this song that may take some getting used to. There's a decent keyboard melody that then gives way to a
lead solo, which is preferable.
"Drowned Maid" seems to pick the pace up a bit, with an added sense of urgency. It
gives the feeling of taking some lengthy journey, which is the same throughout the entire album. The music is very memorable
and interesting, never boring for even a moment. The tale is sort of bleak, however. While not bearing an oppressive sound,
there are still strains of sorrow present here. It ends with the sound of the waves crashing against the shore, where the
maid's blood has been offered.
"In the Beginning" flows directly from this, with one of the more depressing riffs
on the album. It also opens with a trade off of clean and harsh vocals. The lead melody is truly epic and sort of miserable,
yet peaceful at the same time. The song speeds up, though never getting intense. This song preserves the atmosphere that has
been created already and adds to it, greatly.
The down-tempo feeling is ever-present in the opening riffs of "Forgotten Sunrise".
It continues building, until exploding with a funereal spirit, accompanied by the sound of an organ (or some effect, created
by the keyboard). There are some more uplifting moments,serving as peaks to contrast the deep valleys, but even these are
obscured by clouds. Despite all of this, there is still a peaceful feeling that pervades all else. It is like the peace one
would find from drowning in freezing cold water. As the song slowly fades, you begin to prepare for the end.
"To Father's Cabin" begins with epic thrash riffs and keyboards that blend together,
seamlessly. This one might as well be an instrumental, as there is only a single verse that is spoken in a clean and distant
voice. This one seems to be dominated by the melodies, giving more or a build-up for the final piece. It cannot be overstated
that the riffs are all very memorable, remaining in your brain long after the record is over.
The final song, "Magic and Mayhem", starts out with a slow riff that is both somber
and exquisite. This then flows into something that is heavier and kind of harsh. There is almost a dark quality to this, though
the strange keyboard effects prevent it from going too far in this direction. The thrashy riffs are joined by more epic chords,
in the background. It all ends in a chaotic eruption of riffs and more strange effects.
Tales From the Thousand Lakes is a classic of Finnish Death/Doom Metal. This
is, definitely, something that should be in your collection. There's absolutely no excuse for you to not own this.
(4 Aug. 2009)
Black Winter Day (1995)
In January 1995, Amorphis followed up on the success of Tales From the Thousand
Lakes with the Black Winter Day E.P. In a way, it seemed that their musical transition had already been decided
upon. This release would serve as an epitaph for the early period of Amorphis. After this, they would continue to 'progress'
toward something quite far from their roots.
It begins with the song "Black Winter Day". This is the same version as found
on the L.P. For me, this song didn't stick out so much as to deserve its own E.P. All of the songs on Tales From the Thousand
Lakes were quite consistent, so any one of them would have sufficed. At any rate, this was the song that they felt best
represented that album, apparently.
"Folk of the North" is a somber instrumental that begins with a piano. It is
sooned joined by the guitars, bass and drums. Much like the material on the last full-length, this has a peaceful atmosphere
and wouldn't have been out of place among those songs, really.
The next song is "Moon and Sun", which is a bit more straight-forward. There
is still some utilization of the keyboard, though it is implemented in creating a darker feeling than on other songs. The
guitar riffs possess the same epic nature as is found on the two previous albums, causing one to wonder whether or not this
was a leftover track. Judging by the lyrics, it would appear so. If it was passed up, my guess is that this decision was based
more of time constraints rather than quality, as this is a very good song.
"Moon and Sun Pt. II: North's Son" starts with an eerie keyboard effect, though
the song is a bit more uptempo than its predecessor, once it actually begins. As with the last one, the vocals are all done
in the Death Metal style, being deep and almost more reminiscent of The Karelian Isthmus than Tales From the
Thousand Lakes. The speed has increased a bit, as well. During the latter half of the song, the pace slows down and nothing
is left but a piano and the drums. This hearkens back to the intro from the last album. Once the guitars return, the pace
picks up, slightly, as the song finishes out.
Black Winter Day is a fitting manner to say goodbye to the first
era of Amorphis and to begin the new one with a clean slate; i.e. no leftover songs from the past. The material here is just
as good as anything found on the previous full-length, which is easily noticed due to the inclusion of a song from that L.P.
For people such as myself, this is also a good point at which to close the book on this band, as they subsequently transformed
into something quite different.
(7 Aug. 2009)
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