Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Lead guitarist Esa Holopainen and drummer Jan Rechberger formed the band Amorphis in Finland in 1990. To complete their lineup they recruited vocalist/guitarist Tomi Koivusaari and bassist Olli-Pekka Laine. They released a demo in 1991 called Disment of Soul. The demo was so successful in getting attention for the group that they acquired a record deal and released an EP the same year. They next released their first full-length album, The Karelian Isthmus, in 1992. The following year, their early demo recording session was released as Privilege of Evil. The year 1994 saw the group sending out its next CD, Tales from the Thousand Lakes.

In 1994, Kim Rantala joined the band on keyboards, being integrated as a member of the band rather than the side musician he was replacing. An EP entitled Black Winter Day was released the next year. Their next album was Elegy. This disc showcased a new six-member lineup, completed by Pasi Koskinen as their second vocalist. The lineup at this point also included new drummer Pekka Kasari. In 1997 they released My Kantele. In 1998, Rantala left the group, being replaced by Santeri Kallio. The group released Tuonela with that lineup in 1999. The following year, Niclas Etelävuori replaced Laine on bass.

In 2001 the band went in a more experimental direction, including saxophones and a greater focus on keyboards for Am Universum. Jan Rechberger rejoined the band in 2003 just in time to record Amorphis' sixth studio album, Far from the Sun. Koskinen left the band in 2004 to focus on his family and was replaced by Tomi Joutsen. For their next project, Amorphis began work on a series of concept albums based on the famous Finnish epic poem The Kalevala, releasing Eclipse in 2006, Silent Waters in 2007, and the more melodic and prog-oriented Skyforger in 2009. In 2010 the band decided to revisit some of its older work, recording new arrangements of earlier material for Magic and Mayhem: Tales from the Early Years with its new approach at the fore.

Looking back at the past was simply a way of honoring it, however, and Amorphis pushed ahead with The Beginning of Times, which combined Joutsen's clean singing with earth-shaking guttural growls and wove aggressive death metal into the melodic prog mix. Two years later, the band enlisted Peter Tägtgren as producer for Circle, a recording that took a less epic approach and utilized early black metal and folk elements amid melodic – though extreme – progressive death metal.

In 2015, the band went on a European tour to commemorate the 20th anniversary of Tales from the Thousand Lakes. That summer they also released the Jens Bogren-produced Under the Red Cloud, a new set that featured substantive guest appearances from flutist Chrigel Glanzmann (Eluveitie), drummer Martin Lopez (ex-Opeth), and vocalist Aleah Stanbridge (Trees of Eternity).

by Gary Hill, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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The Karelian Isthmus is one of the best early-'90s European death metal debuts. Amorphis previously issued some demos that were eventually combined into Privilege of Evil, but this 1992 release is the band's first fully conceived effort. What is most impressive is the high dynamic standard that the group establishes so early in its recording career. This is due mainly to the group's heavy and quite original riffs. "Black Embrace" and "The Lost Name of God" feature some of the most effective and yet surprisingly simple guitar signatures imaginable. By themselves, these compositions and performances would be enough to warrant a strong recommendation, but The Karelian Isthmus is more than a few nice guitar phrases. The husky vocals and tight drum performances also earn Amorphis high death metal/grindcore marks. A must for fans of this group's early, melodic death metal period, The Karelian Isthmus ranks among Amorphis' finest offerings.

by Jason Anderson, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Bolder than The Karelian Isthmus and conceptually superior to later attempts at progressive but radio-friendly '90s metal, Tales From the Thousand Lakes might just be Amorphis' best recording. This record is heavy, yet never succumbs to the inane extremes common to the melodic death metal genre. The guitars and drums are in ample supply, and a rare attention to arrangement and production really sets this disc apart. The guttural vocal work isn't for every metal fan, but the neo-prog instrumental work and overall heaviness should impress those turned off by the throaty rants. In a possible attempt to widen the band's appeal, Tomi Koivusaari briefly sings, which doesn't exactly work out. These moments of confusion are short-lived, though, and they hardly blemish the release. The subtle addition of keyboards is a nice touch – Amorphis' captivation with the instrument would soften later efforts. So even though Tales From the Thousand Lakes heralded a shift toward later, inferior recordings, the new and old are balanced precisely on this 1994 Relapse offering.

by Jason Anderson, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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To stand out in a field where the obvious signifiers are the most common, and therefore the most clichéd, elements, one has to know when to try something different. Amorphis had already shown itself to be a more than competent end-of-the-century Scandinavian black metal outfit, but there were plenty of others equally able to say the same. The inspired turning point had two points of origin – recruiting another lead vocalist, Pasi Koskinen, to sing with Tomi Koivusaari, and deciding to record an album infused with earlier Finnish folk influences, both musically and lyrically. The choice of lyrical inspiration, Finland's national epic The Kalevala, isn't necessarily surprising given how often metal of all kinds has favored tales of dungeons and grue. But Amorphis wisely eschew Conan the Barbarian grotesqueries in place of the often grim existentialism found in the original poems, more like a medieval northern Metallica (or even a Joy Division, if you like) than a prancing Dio. The result is a powerful release that, if anything, feels like an equivalent to Sepultura's own inspired combination of past and present, Roots. Esa Holopainen's use of sitar on certain tracks, like the opening "Better Unborn," as well as the continued use of keyboards shows the band avoiding some sort of retro-unplugged move – it's still Amorphis ripping through things with a number of prog touches as they go, but wanting to bring all sorts of musical options to the fore (as with the folky dance break in "Cares," where the guitars almost sound Hawaiian). Koskinen's much clearer vocals nicely offsets Koivusaari's subterranean grumble, ensuring that the lyrics aren't lost in the flow. For all the darkness of the lyrics and delivery, there are some jaunty moments as well, like "On Rich and Poor," which for black metal is actually a pretty upbeat song, at least at the opening! With a gentle acoustic version of "My Kantele" closing things out, Elegy is an inspired leap forward.

by Ned Raggett, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Death metal isn't for everyone – especially first-wave Scandinavian death metal as practiced by Amorphis during the band's early years. Some love it, others don't know how seriously to take it, but everyone agrees that the folks who make such an extremely singular noise deserve a little credit for valuing an artistic construct more than the potential commercial value of more "acceptable" music. That same respect isn't usually extended to artists who make the kind of moderate rock that's perpetually heard on the radio. When artists make a break from the heavier side of this spectrum, a special kind of hatefulness is extended, and cries of "sellout" are heard emitting from the jilted voices in the heavy metal peanut gallery. As an automatic response, these accusations are short-sighted and reactionary. Years spent trying to make a living by playing death metal must have its frustrations, and nobody should be criticized for trying something new. When the results are as stifling as Tuonela, however, certain artistic "freedoms" shouldn't exactly be encouraged, either. While the record's generic hard rock turned out to be a commercial boon, it's an artistic flop. Except for a grumbling vocal on "Greed," all remnants of the group's death metal roots had vanished by this, the band's fifth release. It's hard to think that many fans of Amorphis' early work could stomach the barely metallic alt-rock on tracks like "Shining" and "Morning Star." Even without Amorphis' history, Tuonela is still a frustrating record. The guitars are shapeless and barely present, the extra instrumentation is forced, and the vocals are wooden. It all adds up to a kind of simple, lightweight prog that's kind of unnerving. This second take on metal began for Amorphis on Elegy, and that record along with everything after (including Tuonela) should only be approached with extreme caution.

by Jason Anderson, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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If we focus primarily on the non-bastardized jazz elements, like keyboards, rhythm section, or especially the guitar, then the album is Amorphis' crown jewel for creative composition. The album kicks off with the gentle keys and happy harmonics we've come to expect from the band with "Alone." The song meanders through thick interchanges of sound and tasty vocal lines before hitting a wall of warm, overdone pop sax. Fear not, as "Goddess" blasts the listener with Pasi's endearing vocal harmonies and their most memorable wall of keyboard sound in recent memory, while "The Night Is Over" recalls memories of the twin guitar/keyboard leads of "Against Widows" from Elegy. Speaking of that album, "Forever More" is the most folk jam fun these guys have had since "Weeper on the Shore," with its acoustic, upbeat feel and rhythmic propulsion. The nucleus of this album lies in the heart with "Crimson Wave" and "Drifting Memories," as both show the greatest strengths and weaknesses of the "brand new" Amorphis. The first moves with a wistful, driving, relaxed motion recalling the heydays of the '70s before exploding into a loud catchy chorus, bringing the band to near-perfection before it spirals down the drain with the Kenny G ending solo. The sax sounds a bit sweeter on "Drifting Memories," as the soprano sax warmly glides into pseudo-Middle Eastern sounds. Luckily, the keyboards and guitars sound effortless, saving the song from porno sax land. Here Esa and Tomi's patient performance pay off, as the textured guitars have never sounded better. This album is phenomenal, yet, as others have mentioned, sometimes unbearable. To go from the gut-wrenching sax solo, which begins "Veil of Sin," to the gorgeous U2-infused guitar of "Captured State" is misguided and irresponsible. Amorphis has abused its creative edge and pushed on untrained ears tactless jazz elements to try to improve their status as a creative band. Stick to what you know fellas, the flutes from Tuonela's "Rusty Moon" showed strength and promise – use them. If each saxophone was replaced with a flute, or better yet African and Middle Eastern wood instruments, the album would probably be a near masterpiece of the rock genre. Few rock bands have ever mastered the saxophone with precision – only King Crimson, Patto, MC5, and the Stooges come to mind. Even then, these bands were ingenious, using it sparingly and only in a hard bop or wild free jazz style. Please, Amorphis, spare those listeners who have experienced real jazz, and turn the creative wheels in another direction on the next album. You are oh, so close to your masterpiece, and Am Universum is proof of that.

by Jason Hundey, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Listeners who found Am Universum too indulgent and jazzy will be happy to find that Far from the Sun is a streamlined rocker in comparison. At their best, Amorphis have carved great, twisting metallic riffs from the building blocks of Finnish folk melodies, and that continues here with standouts like "Planetary Misfortune," "Far From the Sun," and "Higher Ground." Yet as Amorphis drift further from their frenzied death metal roots and closer to mainstream hard rock, a trajectory they fully succeeded with on Elegy and less so on Tuonela and Am Universum, they lose the searching momentum that made their albums, if not always satisfying, at least intriguing. Previous high watermarks – the pitch-black death of Karelian Isthmus; the heavy, doom-laden classic Tales From the Thousand Lakes; and even the progressive, keyboard-driven polish of Elegy – were all signs of growth, expanding the definition of what Amorphis could tackle as a band. Far from the Sun, as well-executed and crafted as it may be, is another step toward a familiar middle. Any further from the sun and Amorphis are likely to wither and fade away.

by Wade Kergan, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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After forcing their eclectic but often scattered sonic experiments to extremes of self-indulgence on albums like Tuonela and Am Universum (both of which still offered the odd great song, mind you), Finnish heavy metal godfathers Amorphis found their way back to songwriting consistency and economy on 2004's acclaimed Far from the Sun. A surprisingly focused amalgam of past and present, that album marked a measured return to Amorphis' heavy metal roots after years of apparent disownment, and set the stage for yet another compelling LP in 2006's even more unapologetically metallic Eclipse. Not that either one of the records could be called a death metal slugfest, nor a complete abandonment of those not-always-stellar but still necessary forays into other progressive musical realms, but rather mature and well-balanced statements, acknowledging the style that made the band famous in the first place. New songs such as "Two Moons," "House of Sleep," and "Born from Fire" offer driving heavy rock, frequently embellished with atmospheric piano passages, psychedelic organs, and, yes, those alluring folksy melodies that first distinguished Amorphis from the extreme metal pack. New vocalist Tomi Joutsen's expansive range of clean and dirty singing capably replaces those of longtime frontman Pasi Koskinen, whose unexpected departure coincidentally made way for rhythm guitarist and original vocalist Tomi Koivusaari to reactivate his cookie monster growl for occasional use here. As well as making for even cooler emotional contrasts within retroactive standouts like "Leaves Scar," "The Smoke," and the return to Finnish legend, "Perkele (The God of Fire)," this obviously answers the long hoped for, yet never actually expected, wishes of Amorphis' metal-minded older fans. And since even the listeners who actually enjoyed the band's more recent diversions are catered to here by mellower numbers such as "Under a Soil and Black Stone" and "Same Flesh," it's fair to assume that Eclipse contains the broadest appeal of any Amorphis LP yet.

by Eduardo Rivadavia, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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Who says you can't ever find your way home again? Finland's Amorphis started testing the veracity of that age-old maxim in 2005, when their Eclipse album interrupted years of ruthless genre-hopping evolution, took stock of a bevy of styles from all eras of the group's long career, and stewed them into a single, mostly satisfying mélange. Amorphis' peacemaking experiment with their past also coincided with the introduction of new vocalist Tomi Joutsen, leading some to speculate that the departed Pasi Koskinen had much to do with their prior direction, and perhaps proving the point when their subsequent outing, 2007's Silent Waters, found the band pursuing the all-inclusive philosophy once again. And so, on the one hand, listeners can get their death metal fix from guitarist (and original vocalist) Tomi Koivusaari's Cookie Monster contributions to "The White Swan" and the stunning opening tandem of "Weaving the Incantation" and "A Servant" (featuring a notably ripping guitar solo), or experience retrofitted quasi-replicas of the folk-meets-death Tales from the Thousand Lakes era in the almost spookily authentic "Shaman" and the purely acoustic "Enigma." On the other hand, they can experience several examples ("I of Crimson Blood," "Her Alone," "Black River," and the title track) of Amorphis' more recent forays into softer and progressive realms, where Joutsen's gentle croon often shares the spotlight with pianist Santen Kallio's majestic themes. And, finally, just to keep things interesting, the wild card "Towards and Against" blends echoing electronics with semi-industrial guitar textures, a disco-metal beat (probably copped from chart-topping countrymen Nightwish), and guttural and clean vocals for a truly head-spinning hybrid. In the end, it's obvious that Silent Waters lacks same the creative cohesion displayed by most of the group's previous albums, but it's also true that its "one size fits all" strategy manages to represent more of the many "morphs" in Amorphis' long existence than anyone might have thought possible.

by Eduardo Rivadavia, allmusic

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Amorphis: 10CD Collection. Original pressing (1992 - 2015)

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