Sonata Arctica's 'Talviyö' - Album Review

When it comes to flying in the face of fan expectations and pressure, Finland's power metal five-piece Sonata Arctica might be one of the most defining bands. During the power metal boom and revival of the late 1990s and the early 2000s, there were few bands who symbolised the genre more. The band's first four albums, 1999's Ecliptica through 2004's Reckoning Night, are all perfect examples of what European power metal meant at the time. Fast-paced songs, sparkly keyboards, shredded solos, and soaring melodic choruses were the order of the day; and Sonata Arctica took what bands like Stratovarius had done previously and made it into something even more accessible and sugary. It worked however, and the band were genuine big hitters for a while - and helped to spawn and influence a whole new generation of young power metal bands. The Sonata Arctica that has been around since their first four albums however is quite a different beast - for better and for worst. While it is certainly true that after four very similar albums the band needed to branch out, the resulting five albums have been hit and miss. Starting with 2007's heavier, more progressive Unia, Sonata Arctica have been wildly experimenting with their sound. This has led to fantastic albums, such as 2009's stunning The Days of Grays, extremely diverse albums, such as 2012's Stones Grow Her Name, and floaty pieces of progressive rock, like 2016's The Ninth Hour (which I reviewed here). While The Days of Grays and 2014's Pariah's Child (which I reviewed here) flirted with, and sounded close to, their old sound; much of the band's output has been, deliberately, different. This is no bad thing in my opinion however as, unlike with so many bands, you never really know what you are going to get when you go out and buy a new Sonata Arctica album. This is the feeling I had last month when a copy of the band's tenth studio album Talviyö (which is Finnish for 'winter night') dropped through my letterbox. You never quite know whether the album you are going to be listening to is fast, slow, heavy, soft, or anything really; so it was with trepidation that I put the album on for the first time. I was fairly surprised to discover however that Talviyö is actually very similar to The Ninth Hour, and it is the first time that a Sonata Arctica album has sounded quite alike to it's predecessor for a good number of years. The Ninth Hour is an album I enjoyed, but I felt it ran out of steam about two-thirds of the way through. Talviyö however has built upon the spacey progressive sound explored on The Ninth Hour and, in my opinion, has mostly perfected it from a songwriting perspective. Despite lots of strong songs however, I feel that the album is let down by a muddy production courtesy of the band and Mikko Tegelman. Interviews with frontman Tony Kakko reveal that the band wanted to achieve a more 'live' sound on this album, but unfortunately at times the album sounds like a decent bootleg with an uneven mix and guitars in particular that sound like mush. This is a shame as Sonata Arctica albums always sound slick and well-produced, but there are still plenty of strong songs to enjoy here.

As if to trick the listener into thinking that the band had decided to return to their roots, Sonata Arctica kick off the album with Message from the Sun - a fast-paced, yet smooth, power metal anthem. The song opens gently with some swirling keyboards and wordless vocal melodies, before drummer Tommy Portimo kicks off the song proper with a relentless double bass drum pattern, and guitarist Elias Viljanen joins in with a crunchy guitar rhythm. Kakko, who has single-handedly written nearly the entire Sonata Arctica catalogue, is still clearly capable of writing hooky power metal and Message from the Sun is a soaring opening piece. The chorus rivals some of their best work, with Kakko's emotionally-charged vocals sounding as good as ever and Henrik Klingenberg laying down a dense, yet uplifting, keyboard backing. Klingenberg also gets to shine with an old-school shredded keyboard solo part way through the piece, but it is sadly the first victim of the poor production and is somewhat buried in the mix. From this point on however, the album as a whole is more akin to The Ninth Hour album, with the more progressive Whirlwind opening up with a retro sounding organ riff before a laid back, snaking guitar and bass combo lays down a tight melody. Viljanen and bassist Pasi Kauppinen lock together nicely for the riff; but it is a relatively short-lived moment as the verse takes on more of a typical chug, with Viljanen's guitar rhythms dominating as Kakko croons atop them. Despite the more mid-paced feel, the piece is still memorable. The chorus is relatively dramatic, with some strong vocal melodies from Kakko and a dense orchestral backing. One thing that is more obviously different about this album in comparison to the band's other efforts is the more prominent use of acoustic guitar throughout. The band recently undertook an all-acoustic tour, so it is clear that the instrument rubbed off on the band as a result. Many of the songs here feature acoustic-led sections, or see acoustic guitars included in the mix to add depth to the sound. The closing section of this song is very acoustic-led, and it is something that resurfaces often throughout the album. Cold, one of the album's singles, also starts out with some acoustic guitars; but the song as a whole is more of a laid-back rocker with some prominent bass grooves and droning guitars. Interviews with Kakko reveal that the song is something of a sequel to I Have a Right, and there are certainly similarities between the two piece. Both are quire repetitive songs with up-tempo, yet soft, vibes. It is certainly a song that is easily memorable, but in my opinion it is also let down by the mix. The guitar drones throughout the song, which stops some of the nuances truly shining through, and there are times where the vocals are almost lost beneath everything else - which is not really acceptable for a band as established as Sonata Arctica.

Storm the Armada sounds much better, and opens with a moody, clean guitar melody which forms the basis of the early portions of the song. It is not one of my most favourite songs here, but there is certainly a lot going on - and considering the messy production found on some of other songs it sounds beefy and powerful. It is another mid-paced piece, but the progressive textures found on Whirlwind are back here, with dancing keyboard melodies throughout and choral, wordless vocals that seem to constantly form a blanket over the song. I sometimes feel sorry for the band's four musicians, who often seem to be there purely to form a musical backing for Kakko's quirky lyrics, but this song makes a great use of all their talents. Both Viljanen and Klingenberg have plenty of opportunities to lay down some tasty leads throughout the song, with a shredded guitar solo coming fairly early on, and Kauppinen's bass is high in the mix - allowing him to dictate the groove perfectly and really drive the song. The Last of the Lambs however is a ballad that never really seems to get going at all, and is a bit of a mournful dirge that does not really sound like anything the band have attempted before. Gothic keyboards and staccato percussion dominate the song, while Kakko's emotional vocals almost whisper atop the moody tapestry. It is song that I keep expecting to open up, with the band joining in to beef it up, but the change never really happens. The percussion gets a bit more expansive as the song moves forward, and a few additional indescribable sounds are added into the mix, but overall the piece is a bit of a downer that is really at odds with the quirky, up-beat nature that usually characterises the band's sound. Who Failed the Most is a typical modern Sonata Arctica single however, with a punchy mid-paced sound and a sparkly keyboard riff that drives the song. Klingenberg dominates the song's instrumental sections with some great piano melodies, with Kakko's vocal melodies dominating elsewhere. It is a very catchy song, but for me the chorus lyrics feel a bit clunky. It is a very easy song to sing along to, and I can see the song going down well live, but I feel that a bit more thought being put into the flow of the chorus vocal melodies would have made it a real winner. It also lacks a solo, something which in my opinion would have boosted the song further. There is a strange instrumental section where something echoey is going on in the background but it is too buried in the mix to actually make out what is happening. Full instrumental pieces are rare on Sonata Arctica albums, but Ismo's Got Good Reactors adds some metal flair to the middle portion of the album. The album mostly moves along at a mid pace, but this is a faster track with lots of double bass drumming and shredded soloing. Viljanen dominates the song with some excellent lead guitar work, but there are portions of the track which hand the spotlight over to Klingenberg. His keyboard leads here are extremely retro and recall lots of classic 1970s rock albums. It is a piece that acts as a nice diversion from the rest of the album, and is also something of a flash back to the band's earlier sound.

Demon's Cage actually maintains the faster pace and older sound somewhat, with a sparkly piano intro and a flashy synth riff that dominates as the song kicks off proper. This is not purely a bombastic piece of power metal however, as the more progressive elements of Whirlwind and Storm the Armada are also retained. The pace constantly changes throughout, with more melancholic slower sections mixed perfectly alongside pacier sections with some of the toughest guitar riffing on the album - although the guitar tone leaves a lot to be desired. The dynamics on show here make the song an instantly-interesting piece, and over repeated listens it reveals itself to be one of the album's best songs. There are some more clunky lyrical moments though, which is a shame, but overall musically the song is a real winner. It is songs like this that has ensured that Sonata Arctica have remained interesting and creative throughout their career, despite a move away from their more-famous original sound. Another single in the form of A Little Less Understanding is next and it is one of the crunchiest pieces here, with Viljanen dominating throughout with some tight guitar rhythms that spill perfectly out of the speakers. In may ways this album is a frustrating listen as it sounds as if the songs were recorded in batches, with some songs sounding great and others sounding like mush - as there is very little consistency in the mix or production style throughout. This song sounds great however, with the guitar really packing a punch and a shredded solo that cuts perfectly through the mix. It is an extremely simple song, and the chorus is a catchy moment that is sure to stick long in the brain. The album's final two songs are quite lengthy pieces, with the seven minute-plus The Raven Still Flies With You impressing with a somewhat more progressive approach and a varied sound. This is another song that sounds well-produced, with a warm crunchy guitar tone throughout and a prominent bass performance that adds real depth. There is a lot of dynamics here too, with heavier sections again sitting nicely alongside moments that are much more calm. Klingenberg's keyboards often shine throughout, with lots of excellent soundscapes being woven throughout the piece. My favourite moment however is a really jaunty keyboard-led instrumental section that sounds like something from an old Marillion album. The synth lead is extremely 1980s prog in nature, and it comes out of nowhere as a real surprise. In my opinion the album should have ended with this song, as it would have been an epic closing number, but the lengthy The Garden sadly makes for a disappointing end. Like The Last of the Lambs, The Garden is slow song that never really gets going. If it had been a short outro piece it might have worked nicely, but at over six minutes in length it really outstays its welcome. It is a lengthy acoustic guitar and keyboard piece, that features Kakko's gentle vocals throughout - but it just never seems to end. The album did not need this song, and it just really makes the album drag at the very end - when it could have just been cut altogether. Overall however, despite some weaker tracks and a production that is very hit and miss, Talviyö is another enjoyable album from the Finns. By this point I expect Sonata Arctica to release an album like Talviyö, and the mix of sounds and styles explored here generally works well and showcases Kakko's diverse and quirky songwriting.

The album was released on 6th September 2019 via Nuclear Blast Records. Below is the band's promotional video for Who Failed the Most.