As one of the premier torch-carriers of melancholic melodic death metal, and pioneers of the now much-aped Insomnium Gatherum style, a new Insomnium album ever fills my blackened heart with a cold and biting joy. Nothing brings joy in times of turmoil like some rousing, cathartic melodeath, and these Finnish stalwarts know how to bring both frost and thaw in glorious conjunction.
Established pedigree notwithstanding, trudging onward with the tenth(!) album of an established act can turn even the most pristine snow into unsightly muck, and while they have attained some unfuckwithable highs with Across the Dark and Winter’s Gate, most other albums have had their problems. Frosty on the heels of two albums which featured some excellent tracks but failed to stick in my rotation as a whole, the hour is late and calls for another career high-point 10 years after the luster of Winter’s Gate. Does Netherworlds deliver on my lofty expectations and serve as a worthy capstone to ten albums of wintry sadboi mood and muscle?
The short answer is (hell) yes. Where Heart Like a Grave featured some absolutely killer singles and some fairly filler duds, and Anno 1696 had some promising ideas but faded quickly from memory due to a lack of cohesion and not enough big riffy moments, Netherworlds is (almost) all killer. Bookended by its worst tracks, unremarkable opener “The Cold Song” (which is apparently a Henry Purcell cover but lacks the original’s dynamics) and overlong and rather sappy closer “The Journey’s End”, everything else on offer might be the best synthesis of the galloping, high energy and full-bodied melodic greatness of Insomnium at their most classic, coupled with the sweeping yet subtle sensibilities of Winter’s Gate.
While "Shadowlife" opens on a great if expected formula, “Remembrance” offers the first true glimmer of greatness, opening almost like a lost Omnium Gatherum cut, before slamming down one of the better Insomnium riffs of the last decade, before spreading its wings into a soaring climax. “Gleam in the Black” is another winner, rousing yet contemplative with some sneakily infectious keys and counterpoint melodies. “Arch of the Sky” fits into a similar mold, and “Pathways of the Night” and “Ethereal Sleep”show these lads have the melodic chops at the ready whether they veer up or down on the emotional spectrum.
Most effective at showing winter’s shine and bite are without a doubt the anthemic “The Banished" that whipcracks between rousing cleans and rollicking, riff heavy verses and should have closed the album out, and especially contender for best Insomnium song “The Hour Grows Late”. I was already hyped when I first saw three Amorphis members feature on the song, and while Tomi Koivusaari’s guitar work and Santeri Kallio’s psychedelic keys certainly added scope to the track after I was aware of their contribution, it’s the tracks winning, majestic melodies, gorgeous circular development and the immediately recognisable contribution of Tomi Joutsen on its chorus that create a new Finnish amalgamation here named Amorphinsomnium, of which I absolutely want to hear more.
While I’m hesitant to remark too much on production on a stream promo, producer Miiro Varjus’ “meticulous approach and deep understanding of the band's artistic vision proved instrumental in bringing the album's dark, immersive atmosphere to life”according to the promo, and comparing it to their last album I tend to agree. Jens Bogren delivers another loud master that has no business sounding as good as it does, and thus is delivered the full package of Insomnium's best album in a decade. Time will tell if it maintains a position on the podium alongside Winter’s Gate and ATWW, it may even prove their best yet. Whether you’re (somehow) new to the band, or an established Insomniscient, don’t sleep on this one.