Review INSOMNIUM “Netherworlds”

The days are getting shorter, the nights are stretching out. Temperatures are dropping, and nature is slowly settling into its winter slumber. The colorful days of summer are gone, replaced by darker shades of gray. And now Finland’s Insomnium are ready to provide the soundtrack for this time of year.

Netherworlds is the band’s tenth album, and it is “The Cold Song” that sets the mood for the darkness and melancholy to come. There is an interesting twist here: this is actually a cover. The original was written by Henry Purcell back in the 17th century. As unusual as the choice may seem, it fits perfectly. The song introduces Netherworlds before leading into “Shadowlife.”

That track brings together pretty much everything Insomnium stand for. Big melodies collide with emotional heaviness and sudden bursts of aggression. It is a compelling combination of the ingredients that have defined the Finnish band since its formation in 1997.

Over the years, Insomnium have refined this particular blend, and Netherworlds takes another step along that path. Down-tuned guitars and frequent twin-guitar melodies provide both weight and melody, while the vocals shift between expressive clean passages and savage growls.

“Shadowlife,” already mentioned above, served as the album’s lead single, followed by “Gleam in the Black.” At its core, the song deals with loss, wrapped in the shadows of a troubled love story. Overall, Insomnium take a broader lyrical approach on this record than they did on Anno 1696, where the songs were tied together by a specific concept.

There is another significant change on Netherworlds: it is the first Insomnium album to feature guitarist Tomy Laisto. He slips into the band’s musical framework without missing a beat, turning Insomnium into a full-blown triple-axe attack.

One of the album’s key moments arrives right in the middle. “The Hour Grows Late” is an eight-minute epic that showcases both variety and compositional skill. Expansive sonic landscapes give way to eruptions that sound like a Finnish winter storm rolling across the horizon. Everything falls into place, and once again the band proves that it knows how to build tension and keep it alive throughout an extended track. Inviting three members of Amorphis to contribute adds another layer to the arrangement and gives the song even more depth.

“Arch of the Sky” takes things in a more direct direction. There is less ornamentation and more sheer riff power as the song punches through the speakers before giving way to the comparatively lighter opening of “Pathways of the Night.” It doesn’t stay there for long, though. The track quickly develops into a powerful and nuanced piece that captures the essence of Insomnium’s sound.

The full weight of winter hangs over “Ethereal Sleep” like a gray veil. Melancholy and darkness are probably the two words that best capture its atmosphere. Yet there is also a beautiful melody at its heart — and perhaps that makes the emotional impact even stronger. Insomnium wrap the listener’s soul in a delicate layer of sorrow before “The Banished” tears straight through it.

“The Banished” is the heaviest and most uncompromising track on the album. Insomnium take their foot off the brakes and let their melodic death metal instincts run wild. Tomy Laisto plays a significant role here, adding plenty of bite to the guitar attack.

With “Journey’s End,” we reach the final chapter of the album. It begins atmospherically, with acoustic guitar taking center stage. In the way the song unfolds, a circle is quietly closed back to the opening track. “Journey’s End” leaves the album with a touch of sadness, while at the same time creating a sense of balance and resolution.

Netherworlds is a remarkable piece of music. Once again, Insomnium show why they belong among Finland’s most important metal exports, combining emotion, melancholy, melody, and sheer heaviness into a sound that is unmistakably their own. This is metal with atmosphere, substance, and a cinematic sense of scale.