The line between having a clearly defined style and going through the motions is a very fine one. While Amorphis has sporadically found itself on the wrong side of that line – 2011’s ‘The Beginning of Times’ comes to mind – it is genuinely amazing how they have a sound that is completely and instantly recognizably their own, yet still find an angle to make every album distinctive. The occasional change of producer helps – Jacob Hansen instead of Jens Bogren this time around – but if ‘Borderland’ proves anything, it would be that Amorphis’ distinctive power is in their compositions first and foremost.

For those unfamiliar with Amorphis’ one-of-a-kind sound – I cannot think of a single band that sounds remotely like them – categorizing them as a metal band might seem strange. Sure, Tomi Joutsen has a massive growl sometimes, and the riff work can get quite heavy. But their sound is accessible and built around mildly folky, romantic melodies enough for more casual rock listeners to enjoy Amorphis. Esa Holopainen has long been one of my favorite lead guitarists, and his influences outside of metal add some unique color, most notably his U2-esque approach to delay and the eastern mysticism of Kingston Wall.

‘Borderlands’ is a bit narrower in scope than 2022’s more elaborately composed and arranged ‘Halo’, but it takes a lot of mileage out of its melodic variety. Since the album is relatively straightforward, making sure the melodies stand out has been the right decision. No one will mistake the dramatic ‘Tempest’ for the jumpy melodicism of ‘Dancing Shadow’, the fantastically dynamic opener ‘The Circle’, the laid-back ‘Light and Shadow’ or the crushingly heavy ‘Bones’. It would not surprise me at all if most of these songs were composed with their vocal melodies as their starting points, and Joutsen sounds very comfortable singing them.

Calling ‘Borderland’ straightforward is accurate, but also sells the last few tracks a bit short. ‘The Lantern’ features an almost cinematic arrangement and feels a bit more progressive in its composition, making it one of the more unique Amorphis songs in quite some time. It might be the highlight of the album, though closer ‘Despair’ gives it a serious run for its money. Where even the most melancholic Amorphis songs tend to have a glimmer of hope, ‘Despair’ is without a doubt the darkest, bleakest song they have recorded in a good while. It is the perfect finale to ‘Borderlands’.

Nearly every Amorphis album since Joutsen joined about twenty years ago can be described as a blind buy for their fans. ‘Borderland’ is no different, but it does have a spark that not every Joutsen-era album has. There will always be little touches that will make some albums appeal more than others – for example, I would not mind if Joutsen would abandon his growl and fully focused on his warm, soothing cleans exclusively at least for a few songs – but quality is guaranteed with every Amorphis album. The immediacy of ‘Borderlands’ also makes it a good album to get aquainted with the band.

Recommended tracks: ‘The Lantern’, ‘Despair’, ‘The Circle’