Omnium Gatherum have always been he lovable, quirky uncle of the Finnish melodeath scene, having come into their signature sound with the inclusion of instantly recognisable vocalist Jukka Pelkonen in 2006, while remaining firmly spearheaded by sole remaining founding member Markus Vanhala (Insomnium, Cemetery Skyline), alongside twenty-year loyalist Aapo Koivisto on keyboards. They also have some lofty expectations to match on this this album, after coming off an uneven three-album run. The unassailable heyday of The Redshift (2008), New World Shadows (2011) and Beyond (2013) remain a glittering time capsule, being one of my favourite three album runs that shaped my taste in metal. However, both Origin (2021) and Grey Heavens (2016) leaving me rather unengaged, while The Burning Cold (2018) held some standout tracks but did not remain in rotation for me very long after the dust of its release hype and seeing them live settled.
As the band allude to in its personable promo sheet, May the Bridges We Burn Light the Way is a reinvigorated iteration of Omnium Gathering's signature sound, that both calls back to previous pockets of their output while also forging onward, bravely attempting to remain fresh and relevant after thirty years and ten albums, with famed producers Jens Bogren, Tony Lindgren and Soilwork's Björn “Speed” Strid, who also supplies some gang shouts, only adding to its heft. As a result, Bridges is a rather slicked-back and shiny affair that sees Omnium Gatherum put more emphasis on clean vocals, as showcased by “My Pain” and “The Darkest City”, although Pelkonen’s powerful roar still provides the lion’s share of the vocal performance. All of this is compounded by shimmering guitar tones and big synths, while more-recent additions Mikko Kivistö (drums) and Atte Pesonen (bass) work away diligently in the background to empower the band's signature drive.
Despite being tied together by a loose lyrical concept, I find the opening three tracks bleed together in most of my listening sessions, each providing a pleasant head-bobbing romp and some rather fiery guitar and synth melodies before perhaps understaying their welcome and leading in the next track. The album’s memorability picks up on “The Darkest City", thanks to a grittier low-end that nicely contrasts with extra-scintillating guitar and synth work and Pelknonen’s powerful vocals. These dynamics are further boosted by an atmospheric second half, with the band going heavy on the effects for a contemplative bridge underpinned by a nice, tom-heavy drum pattern and a rather tasty solo. There’s even a heartbeat sound somewhere around the four-and-a-half-minute mark for added novelty and atmosphere.
Most album highlights are found on this and further tracks, with the powerful riffing and gang shouts of “Walking Ghost Phase”, the anthemic and intermittently bitter-sweet melody of “Streets of Rage” and the inspired guitar work on “Barricades” that reminds me of a mix of the scorching lightning in a a bottle of The Redshift and the shimmering polish of Beyond. Bridges also features another “Flame”-track, with “Ignite the Flame” perhaps alluding to the band’s reawakened passion, and taking shape as another classic melodeath tune that can stand shoulder to shoulder with its titular brethren “The Second Flame” (The Redshift), “Nova Flame” (The Redshift) and “The Third Flame” on Stuck Here on Snakes Way (2007). In true Omnium Gatherum fashion, the album also closes out with an atmospheric, instrumental track “Road Closed Ahead”. In an album otherwise so streamlined and aerodynamic, however, this feels like a bit of an odd choice—especially considering the composition leaves ample space for vocals.
In the end, I’m having quite a hard time judging this album. Both the opening sequence and the last track leave me somewhat underwhelmed, as does the overarching lyrical concept, which tries to be “gritty and urban”. Nevertheless, when the OGs of Omnium Gatherum strike gold, they remind me of why I fell in love with albums like The Redshift or New World Shadows back in the day. While the tides of experience and time may have polished the band's sound and turned out a smoother rock than the jagged edge that entered the thresher all those years ago. Omnium Gatherum show that they still have the magic, and Bridges is a definite step up after Origin, even if it doesn’t reach the pinnacles of their greatest output. I hope the last track’s title isn’t a hunt that this is their last, because it sounds to me like they might just have another true showstopper in them if this upward trend continues.