I am sure many a writer has used trying to define Amorphis’ moniker to start their reviews. What’s a poor sap to do if the comparison is helpful? According to Webster, “amorphous” is: a) having no definite form, shapeless; b) lacking definite character or nature. It is 100% true that anything can be expected from these venerable Finns, as their constant evolution and ability to surprise from one album to another should not be confused with shapelessness. Lacking character? Now here is the one that does not fit, as there hasn’t been a more major metal act to lift themselves off the mat in the recent years after a few downtrodden releases. Let’s see the show of hands how many have left Amorphis for dead. I confess, my hand is raised. Yet, while Eclipse has hinted at resurrection, Silent Waters officially has the Phoenix back from the ashes.

It may be true that there was the least amount of changes Amorphis has done going from Eclipse to Silent Waters in their career, the same lineup, the same studio, the same sound. It seems though as with this album the band not only was able to rejuvenate itself, but also melded its deathier roots and folk soul with the modern hooky and well-structured songs. Silent Waters reaches all the way back to Elegy and Tuonela for melodies, especially in some of the more aggressive numbers like Weaving the Incantation and A Servant, and rocks no less than Eclipse in darker brooding songs.

Tomi Joutsen, a virtually unknown singer beforeEclipse, has been a godsend for Amorphis, and on Silent Waters he appears to be even more confident in his role, more emotional and more forceful at the same time. Weaving the Incantation, A Servant and The White Swan see Tomi growl with conviction, in a Swano-like deep tuneful tone. But even when the harsh vocals are not used, the songs project plenty of power, with their smooth well-crafted choruses (title track, Her Alone).

After the 4-song opening salvo ends with the driving Towards and Against, the band does go on a rather lengthy stretch of more reflective and introspective songs. Melancholic, but with little cheese, Amorphis, just like Sentenced (RIP), is another Finnish mainstay band who can pull this stuff off, without sounding tacky, whether there are some female ah-ahs in the background (Her Alone),or the whole composition is largely acoustic (Enigma). With acoustics woven in elsewhere on the album, Amorphis utilizes their almost signature style when the strings come in with a little delay after the rhythm guitar riffs. The songs are spiced with well placed leads (title track) or have various drumming patterns, from rolling double bass (A Servant) to tribal, appropriately, on Shaman. There is also a number of interesting arrangements on the album. Keyboards, staying in the background to provide color in most of the songs, give a sense of 70s and mystery to Towards and Against.

I have a feeling many will find Silent Waters very enjoyable. The older fans, like yours truly, will be finding Elegy and Tuonela overtones here, while those who have discovered Amorphis later, with Eclipse, will not be put off with anything too deathy. The bounce is back, Kalevala lyrics is back as well, and as The Way (Tuonela) and now Towards and Against proclaims “I know the way”. It would be hard to argue with the obvious.