The core tenets of the band's sound remain, though, and their layered, atmospheric sound is still very much present - even if there is a lighter tone at times. The line-up here is the same as was present on Moonflowers - with Swallow the Sun remaining a five-piece and Raivio again handling the keyboards. There is no slow-burning start to the album as might be expected from a doom album, as lead single and opening track Innocence Was Long Forgotten almost feels as if an atmospheric build-up was cut off its beginning - with a hooky, yet slow moving, guitar lead opening things up against a synth-heavy backdrop before the band crash in to create a tough, doomy backing. The song is very melodic from start to finish, though, with the guitar lead referenced the first of the album's hooks, before the band drop away again to allow the verse to proceed with a simple drum pattern, subtle bass melodies, and plenty of keyboards. Kotamäki is a diverse singer who can do both clean and harsh vocals well, and this song focuses on the former. He may not be as chameleon like as someone like Tomi Joutsen, but his clean vocals are expressive and suit the band's atmospheric doom sound nicely - and he croons his way through the verses in a floaty manner which are dense and keyboard-heavy despite the lack of heaviness. The chorus is heavier, though, with the intro guitar lead returning and the band crashing back in create a tough backing - and this is extended into a later guitar solo section which is brief but full of melody. The song is very accessible and lacks the band's usual cutting edge, but I like it as a melodic opener - and it sets the tone for the lighter side of Swallow the Sun to come. What I Have Become returns to something more akin to the band's trademark sound, though. There is still plenty of heaviness here, despite what some probably believe, with the opening section of the track containing a venomous, mid-paced riff and snappy drumming - before a brief clean guitar-led instrumental section adds to the spooky atmosphere. Whilst there were no harsh vocals in the previous song, this track features more vocal diversity from Kotamäki - and his growls are as brutal as ever during the mid-paced verses which feature the tough riffing of Raivio and fellow guitarist Juho Räihä, behind which Raatikainen adds a swinging groove. The chorus is sung clean, though, which is something typical of the band's more recent sound. The keyboards become more prominent during the chorus, too, with subtle vocal harmonies adding depth - and a few screams are sometimes mixed into the background, too. Overall, though, the chorus is melodic and uplifting despite the overall heaviness and melancholy of the track - with some fast-paced double bass drum patterns sometimes clashing with the slower overall pace.
MelancHoly initially sounds somewhat similar, and there is more of a heaviness apparent early on - but the song's intro sounds like a mix of the previous two, with tougher riffing and a soaring guitar lead. The song is not as heavy as the last track, though, with it returning more to the vibes of the opening number - albeit with a much slower pace and a gothic overall feel. Chiming clean guitar melodies and a lumbering drum pattern recall the 1980s goth scene quite considerably - and Kotamäki's crooning vocals are perfectly suited for such a sound. Piano melodies are added to the sound to act as something of a pre-chorus break, before the chorus continues the melodic chorus template of the previous songs - with tight vocal harmonies and some vocal hooks which easily stick in the brain. It is a chorus that is easy to sing along with thanks to Kotamäki's expressive vocals - and a brief bridge section later ups the heaviness with some harsh vocals. Under the Moon & Sun has become a real favourite over my recent listens to the album - and it tends to hark back to the last couple of albums a bit more overtly, whilst also showcasing this album's core sound. The opening synth melody is very 1980s-inspired, but it is set against a suitably downbeat vibe so that it does not sound overly cheesy. The synth hooks are still very memorable, though, and they later form a part of one of the album's best choruses - but there is a bit of a journey to make before getting there. Guitar leads and tougher riffing dominate the early part of the song as the synths dance around, but the verses are much slower with a lumbering drum beat and subtle guitar chugs over which Kotamäki sings clean. There is plenty of atmosphere contained within these simple verses, though, and they contrast nicely with the much fuller chorus which has some of the best vocal hooks on the album and some harmony vocals courtesy of Rachil Wilkinson (Zeplyn). Her voice mixes well with Kotamäki's to create an uplifting sound to complement the synth hooks, creating a different tone to usual, whilst another heavy bridge section sees a few growls deployed before a melodic and busy guitar solo takes the song to the next level. Kold opens in a heavier manner, with some stark guitar trills and busier bass drum-heavy playing - but the band's typical mid-paced sound is retained and the track reminds me somewhat of What I Have Become. It is only the second song here to focus on harsh vocals in a big way, with much of the verses growled and screamed by Kotamäki - whilst clean vocals are relegated to slower sections for contrast. The verses are generally heavier, too, with crunchy riffing and a much more strident drum groove - whilst there is an early guitar solo which introduces some knotty phrases. The chorus is less overtly hooky than those which have featured so far but it remains powerful and atmospheric thanks to a mix of clean and harsh vocals.
November Dust is another pretty doom-centric track - and there is a focus on creeping heaviness early on. Some distant piano melodies set the tone, before the rest of the band join in, but when the track gets going proper there is another focus on slow-burning guitar leads and tight, heavy drumming. It remains mid-paced during this intro section as is typical, before the song takes the route that most of the others here do by having the band drop out somewhat for a verse which channels strong gothic vibes. Kotamäki sings clean throughout, but he mixes his much deeper clean vocals (which have not been heard on the album up to this point) with the higher, floatier delivery which dominates the album. Hearing the deeper vocals is definitely a link back to some of the band's older albums - and there is certainly a stronger lead guitar presence throughout the track, too, with a number of breaks showcasing some prog-inspired fluid guitar soundscapes. Both Raivio and Räihä seem to be featured here in a big way, as there are some strong harmony guitar sections, and the focus on big guitar melodies helps to set the song apart. I referenced Marillion in my last Swallow the Sun piece and there are certainly shades of that band throughout the arrangement of this song - with some of the melodies being Steve Rothery-esque. Velvet Chains follows, which is the album's shortest song at just over three minutes. It acts as the album's ballad, opening with a mixture of synth depth and clean guitar melodies - before Kotamäki starts to sing against a sombre drum and piano backing. In truth, given that a lot of the album is quite slow burning, the ballad perhaps does not have as much as impact as it might have done in the context of a heavier album - but Wilkinson is given a bigger vocal role here, and her voice in the chorus really helps to bring the song to life. Arrangement-wise, the song is very simple. Some guitar melodies are added later on to deepen things slightly, but generally the musical backing does not really change - and it is the harmonising of Kotamäki and guest Wilkinson that makes the short piece compelling. Tonight Pain Believes feels much sparser overall, and it opens with some distant guitar melodies which create a hypnotic base over which everything else builds. There is something Anathema-esque to this early melody and parts of the track - and the opening verse is very murky in tone overall. Kotamäki sings in an almost whimsical manner against the aforementioned guitar melodies and a percussive drum pattern - whilst the synths feel less present than usual, the guitars instead creating a void. This contrasts with the chorus, though, which is much bigger in tone - with strident drumming and plenty of crunchy rhythm guitars. Kotamäki's vocal hooks are much brighter, too, in contrast to the opening part of the song - and I like how the two parts of the track sit side by side and move back and forth. Subtle screams are thrown in at times to create depth but generally the song is sung clean.
Those missing the band's trademark real heaviness at this point, though, will certainly find a lot to like in Charcoal Sky - a proper doom track that harks back to the band's other recent albums. Raatikainen's drumming is much busier, with plenty of bass drum patterns and fills, whilst the riffing of Raivio and Räihä is much more metallic overall. Strong death metal influences can be heard throughout the song, with the verses feeling a bit more urgent than anything else on the album - with Kotamäki's deep growls sounding as good as ever. Whilst his clean singing throughout the album is impressive, his growls can sometimes be missed I do have to admit - so it is great to hear him sounding so vital and primal again throughout much of this track. The verses are tough, then, and proper headbanging moments, but the chorus does see the return of the clean vocals - and the pace slowed to something more atmospheric and typical of the rest of the album. The melodies are extremely memorable, though, and it is another candidate for chorus of the album in my opinion thanks to Kotamäki's emotive delivery and warm tones - whilst elsewhere there are quite a lot of guitar leads to add to the more metallic overall feel of the piece. The closing title track which follows is the album's longest at just over nine minutes, so is unsurprising that it is one of the most diverse pieces here. The band are not strangers to longer songs, but this album is more concise than some of their works - so it is fitting that the last track allows them to stretch out a bit more. Blazing double bass drum patterns set a heavier tone earlier on, and the riffing is once again quite death metal-inspired as the song kicks off - with a few wordless growls adding to the overall heaviness. Arrangement-wise, the song does not stay in one place - with the verses very much returning to the album's core sound with chiming clean guitars and synths. There are also some acoustic-led moments here too, though, which is different from the norm. Parts of the verses are very stripped down, then, with acoustic guitars generally all which backs Kotamäki - and these sections are then generally contrasted with something much heavier and harsh vocals. The song is one of those which essentially covers a bit of everything which has featured on the album up to this point - with a good mix of metal and gothic overtones, as well as some busy guitar leads which create both an atmospheric sound in places and a more shredded feel in others. Some of the guitar leads are very mournful, but there is also the album's longest solo overall which feels much more heroic and it is a really flashy guitar moment from a band not generally known for their instrumental showboating. There is a lot of shredding and double bass drumming during this frantic solo spot, though, and it feels as if it is going to close out the song on this note - but a slower vibe returns after a hanging pause, with synths and Kotamäki's clean vocals returning to the album's core sound one last time, with harmony guitar leads from Raivio and Räihä providing some mournful hooks as the album fades to a close. I am not sure that Shining is a strong as Moonflowers, but I think that it achieves what it set out to do. It does sound different but there is still plenty of the band's trademark magic present in my opinion - even if a few more heavier moments would have been welcome. It is certainly not as emotionally draining as some of the band's work, though, and those who fancy their doom on the more atmospheric side will find a lot to enjoy here.
The album was released on 18th October 2024 via Century Media Records. Below is the band's promotional video for Innocence Was Long Forgotten.
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