Sonata Arctica's 'Clear Cold Beyond' - Album Review

The Finnish power metal five-piece Sonata Arctica has had something of an interesting career. The band can trace their history back to 1995, but it was not until the release of their debut album Ecliptica in 1999 that they fully got going. I have often theorised that bands which knock it out of the park with their debut album often struggle somewhat later on, with a gradual build up from modest start perhaps being a more sustainable career trajectory - and I think it is fair to say that Ecliptica has perhaps been a millstone around Sonata Arctica's neck. The late 1990s and the early 2000s were arguably the peak years of the European power metal scene, and Ecliptica immediately became one of its biggest albums. Listening back now it does sound a bit rough around the edges production-wise, but many of its songs have been setlist staples ever since - and I feel like everything that the band has released since ends up being compared to Ecliptica in the end. That being said, though, the band had a strong initial run of albums, with 2004's Reckoning Night being a personal favourite, but from 2007's Unia onwards Sonata Arctica's sound started to shift. Having said all that, I do not think that Sonata Arctica has ever released a bad album. 2009's The Days of Grays is a personal favourite of mine and there has been plenty to like on all of the albums which followed it - with 2014's Pariah's Child (which I reviewed here) perhaps being the pick of the bunch. The reason I bring this up, though, is that, for many years, Sonata Arctica has tried to somewhat move away from their early sound. I personally think that some overstate how much the band's sound changed over the years, but it is true that the blistering power metal of Ecliptica was toned down over the years - with more progressive and whimsical influences replacing it. Despite this, though, everything that the band has released has certainly been identifiable as by Sonata Arctica. The band has always had a quirky side, both musically and lyrically, and this was present from the off - but in more recent times frontman and songwriter Tony Kakko has allowed his imagination to run wild. 2012's Stones Grow Her Name stands out as a particularly diverse and quirky album and even their last album, 2019's Talviyö (which I also reviewed here), tried new things despite the band being 10 albums deep at that point. I have always admired Sonata Arctica for their willingness to experiment, but others have not been so understanding. The band has resisted the fan pressure to record something more old-school ever since the release of Unia and the fact that they have had a successful career without doing so is testament to their creativity. All of this, then, makes the band's latest album Clear Cold Beyond a bit of a strange prospect. From the release of the first single First in Line, it was clear that the band were harking back to their original sound. The press release which accompanied the single suggested that their next album was essentially going return to the band's roots - and this news was greeted gladly by the fanbase. I am not sure what made the band return to their original sound, but I hope that they did not finally just bow to the pressure to do so. That being said, though, Clear Cold Beyond is not just a simple re-tread of the past. It is certainly the most 'power metal' that the band has sounded for years, but they have not thrown the baby out with the bathwater either - as there are still plenty of experimental moments and smoother sounds which recall their more recent releases here.

The aforementioned First in Line kicks the album off and it really does sound like something from the band's past. From the off Tommy Portimo lays into his double bass drums at break-neck speed and Henrik Klingenberg's neo-classical keyboard melodies cut through the mix as they did during the good old days. Not every song is a fast-paced power metal anthem but there are more than a handful here - and First in Line is certainly one of the most blistering pieces the band has released for many years. Despite the pace, though, the classic Sonata Arctica smoothness and sense of melody is intact. Warm synths sit behind the double bass drums and flashy keyboard hooks, whilst Elias Viljanen's guitar tone is a little on the warmer side. The production is not as sharp-edged as on the band's early albums, but I like how grand this album sounds overall. It is really well produced and mixed, which allows all of the instruments to shine. Klingenberg in particular stands out during this track due to his mix of keyboard textures - which range from classic power metal sparkle, via a Hammond organ, to a flashy synth solo. Viljanen's guitar solo is perhaps not as flashy as it could have been, but this is a track which seems to focus more on the keyboards throughout - whilst Kakko is also in fine voice, particularly during the smooth chorus which is packed with hooky vocal melodies. California is similar, and it kicks off with a similar feel - with Portimo's drums perhaps even faster this time, whilst Klingenberg's synths tap out the eventual chorus vocal hook. As with the previous track, though, there is still plenty of smoothness throughout - but it does feel a bit heavier overall. The keyboards play a key role throughout, but there is more of a focus on the guitars this time - with Viljanen's rhythms nicely cutting through the wall of synths, and his occasional knotty riff injects some metallic interest. As is often the case with power metal, though, the song is a big showcase for the vocals - and Kakko shines. He has always been one of the most underrated vocalists in metal in my opinion and I am not sure that there is anyone else quite like him. His idiosyncratic approach always helps Sonata Arctica to stand out - and the chorus here is a showcase for his warmth and hooky style. There are quite a few memorable choruses on this album but California's is one of the best - and it is another song with a strong old-school sound that will delight long-time fans. Shah Mat is also pretty fast but, like the previous song, it ups the heaviness somewhat further - and this is a track which reminds me a little of the somewhat more theatrical and progressive The Days of Grays. The drumming here is not quite as relentless, despite plenty of double bass drumming, but this is a track which moves the keyboards into the background during large portions of its runtime. There is still plenty of atmospheric depth throughout, but the crunch of the guitars is much more prominent with Viljanen tending to dominate throughout. Kakko even utilises some slightly harsher sounding vocals at times during the verses, which helps to add to the heavier vibe, and the track feels like a throwback to the time I got into the band properly - when they started to move away from their early sound and experimented more.

Dark Empath is much more akin to the sound the band has been following more recently, but it continues on the darkness set out in the previous track. It is much more of a mid-paced piece, with little in the way of driving double bass drumming - with Portimo instead laying down more of a mid-paced groove whilst Viljanen's guitar chords really ring out and Klingenberg's synths swirl around creating a dense atmosphere. This is a song which goes all in on the band's much more quirky sound than some of the others here - and following three faster tracks this varied piece is very much welcome. I am glad that Sonata Arctica did not just try to remake Ecliptica here. The fast power metal is welcome, but I have generally liked how the band have grown over the years - and Dark Empath could only have come from Kakko's mind. That being said, though, there are some more high-octane moments here, such as a pretty proggy keyboard solo backed by some faster drumming, which leads into a frantic vocal-led section backed by some excellent guitar leads. It is a song that never really sits still but it is still very memorable - with a dancey chorus that brings the best out of Kakko's sing-song melodic approach. Cure for Everything at first seems as if it is going to be another slower piece, but it soon speeds up and it returns to the sound of the album's opening moments. Despite the pace, though, the track has a surprising amount of smoothness. I think the reason that Reckoning Night is my favourite Sonata Arctica album is due to its mix of blistering power metal and melodic smoothness. The harshness of the early productions was gone by that point and Kakko had learnt how to be fast and atmospheric. This song emphasises that and it feels like a bit of a throwback to the 2004 release. It has a pretty big chorus but it is relatively understated in that way that Sonata Arctica can sometimes be, whilst it goes all-out guitar-wise and allows Viljanen to really let rip with a pretty lengthy solo. Many of the solos on the album up to this point have been synth solos, with the guitar taking a backseat, so it is great hearing Viljanen going for it here. Another early single was A Monster Only You Can't See, a more diverse piece which opens with acoustic guitar and snappy keyboards which make for a quirky intro as Kakko sets the tone vocally. The song is much more mid-paced overall than many of the songs on the album, but there is a playfulness throughout which really makes it stick. It is not overtly power metal, but it recalls some of the strongest moments of the band's recent career whilst throwing in lots of old-school keyboard tones as well as some proggy guitar moments to shake things up. As is often the case, though, Kakko is the star here. His vocal melodies are grand throughout, and those moments which feature lots of choral and harmony vocal arrangements really elevate the track. He often uses folk-inspired melodies to give his songs a storytelling approach and that is essentially what he does here - whilst dialling everything up to 11. It is one of the strongest pieces here in my opinion and I can see it becoming a live staple going forward. Teardrops feels a bit tougher overall, but it remains similar to the previous song pace-wise. It is less diverse, though, and instead goes for more of a guitar-based approach with prominent guitar riffing throughout and a slight gothic depth thanks to the keyboards. A few pinch harmonics add some modern metallic twists to the song and generally the song is a tougher-sounding typical Sonata Arctica mid-paced track with a bit more bite. I like the crunchier guitar tone utilised here but the track is perhaps less memorable than some of those which came before - as it lacks some of the big chorus hooks and melodic twists present elsewhere. As such, it is probably the song here which sticks the least - and it somewhat passes by without much of note.

Angel Defiled ups the pace again somewhat, but there is a heaviness throughout which really grounds the track. The folky melodies are back in force, though, with plenty of up-tempo guitar leads throughout and a pretty busy dual guitar/keyboard solo; and these really mix well with the heavier tone throughout. Kakko occasionally sings the track in a grittier way than is typical for him, but his sing-song approach is ever-present as always - with another strong chorus really pushing the song to the next level. It is not as fast and furious as some of the pieces here, but the energy levels throughout are still pretty high - and this helps the heaviness whilst retaining plenty of crunch. This has been one of the album's real sleepers in my opinion, with each listen has increased my enjoyment of the track. The Best Things slows the pace down and acts as something of ballad - but it is not a typical ballad as it still contains plenty of the band's usual quirkiness. It opens with some piano melodies, before it turns into a waltzing piece with slow-burning guitar leads, a snappy drum groove, and vocals from Kakko which feel very heartfelt. Kakko has often had a way of injecting plenty of emotion into his songs - which is impressive given how left-field his songwriting can sometimes be. There is a lot of heart in the band's material and this song showcases that - with Kakko really oozing class here vocally, whilst the guitar melodies and keyboard flourishes again tap into those folky twists whilst also adding some symphonic flair. The plodding chorus is one that really sticks in the brain after a couple of listens and I also really like the instrumental section later on which features some excellent playing from both Viljanen and Klingenberg. It is not very old-school Sonata Arctica, but I also like the new-school - so this diverse song is one which I can appreciate. The album then comes to a close with its title track, which is relatively lengthy compared to most of the other pieces here. Many of the songs here are pretty compact, which also differs from the band's other recent albums, but this one stretches things out a bit more and goes for a creeping and over-the-top approach with a huge amount of atmospheric depth. I would not say that the song is particularly progressive as it tends to stick to the same template from the off, but I quite like the vibe that it creates. Sonata Arctica do not do dense and creepy too often and this sounds like their take on doom - which is not all that doomy but given how upbeat the band often sound the creeping arrangement works quite well to close out the album. It is a world away from the fast pace of much of the album, particularly the songs early on, but I am glad to see the band continuing to shake things up and try new things - even on an album which largely harks back to the past. Sonata Arctica never shy away from a challenge and whilst I think there are stronger things here I quite like the dirge with which the album ends. I am not sure the song would stand up that well on its own, but in the context of the album it feels like the dark to much of the light which came before - and I can appreciate the song when viewed in that way. Overall, then, the album is another enjoyable slab of varied melodic metal from Sonata Arctica. The album is much more 'power metal' than has been the case for a while, particularly in the first half, but it does vary things up later on - and I like the mix of sounds from throughout the band's career. There is a lot to like here and you can always count on Sonata Arctica to never be dull.

The album was released on 8th March 2024 via Atomic Fire Records. Below is the band's promotional video for Dark Empath.