These guys could have extensive crossover appeal if afforded the opportunity. It's not necessarily metal but it ain't necessarily anything else either. Instead of clear cut riffs, Amorphis use exotic guitar licks, saxophones, and whatever they please in straightforward hard rock song structures... vocalist Pasi has an accessible voice and hooks to spare.

"Crimson Wave" is my favorite track... a monster power chord riff segues into smooth jazz sax. If you are a fan of Amorphis's previous work, just don't expect Thousand Lakes Pt. 2 and Am Universum shall rule ye world.

Listen... to what the flower people are sayin'
Had I written a review immediately upon this album's release, I'm sure it would have only received a '3'. Frankly, I was dissappointed that they strayed so far from the brilliance of 'Tuonela' - an album that I think was near perfect. This album drops any hint of folk and (gasp) metal that the band once championed and, I admit, I was a little dissappointed. The guitars weren't even close to being metal in tone or production, the organ solos seemed a bit too much, nothing about the album would indicate that this used to be a death/doom band. Still, I had to admit that the album was interesting and kept me coming back for more. On it's own merits - personal dissappointments and predjudices aside - this album is excellent.

Sure, Amorphis have turned into a psychedelic 70's rock band, but what's wrong with that? This band has the balls to really expand themselves and create an awesome album. It's trippy without meandering and seeming incoherrent which, I think, traps so many bands in this genre. These guys are all expert musicians and it shows.

I really think most people would love this album - regardless of what you normally listen to. It's just that good. It's certainly an excellent alternative to the assembly line of (...) on American radio today.

Like, keep an open mind, dude. Peace out.

Two Nickles for a Dime
It sounds exactly like Tounella, thier last album. I mean exactly like it. However these songs are more like the B-Sides of that album. Pretty average and not very inpiring. I was a little disappointed. Hopefully they try to go in a different direction the next time cause this release is not that great.

Amorphis is about integrity and Am Universum is their proof
It is funny how Amorphis gets all this negative feedback from their so-called fans. Most of them are unfortunately close-minded folks who won't accept anything different from the band's earlier melodic doom-death driven Tales from the Thousand Lakes. I don't see it. Contrary to bands like Paradise Lost, Moonspell, Tiamat or Ulver who also started out as extreme metal bands, Amorphis never went on to become a lousy electronic/goth act completely stripped off their integrity. It is hard to take any comment that says they have 'sold out' seriously when the music on Am Universum is deeply rooted in jazz harmonies and develops into powerful and Floydan psychedelic expression. It's one thing to dislike a band's change of musical direction, but it's a completely different matter to call them sell-outs just because they are actually exploring with deeper musical ideas.

I happen to like some of Tiamat and Ulver's newer material but think their earlier work is much better. As for Amorphis, while the Tales and Elegy era will probably appeal to me the best, I think their current style which is a culmination of a wide variety of genres is really successful. It is understandable that the fans on the extreme end of the equation may not like this, but the ones who appreciate musical growth and change combined with more powerful artistic expression and slightly progressive ingredients are bound to -- at least -- appreciate this CD, if not dig it completely.

Am Universum may be my favourite Amorphis album from the post-Elegy era of the band which signalled the change of their direction. While Tuonela was heavily folk-tinged, their last one, Far from the Sun displays their more modern and guitar-driven updated sound. Am Universum falls somewhere in between but is very heavily influenced by the 70's and particularly the keyboard work is reminiscent of Pink Floyd's psychedelic era. The song arrangements are strengthened with jazzy elements particularly in tracks such as "Crimson Wave", "Drifting Memories" and "Captured State". The addition of saxophone seems to have put so many fans off, but don't get it the wrong way. It is delicately placed in the mix and it never overpowers any other instrument. The keyboard work and guitar riffing is much more on jazz ground than the saxophone.

"Alone" is my personal favourite off this album and also one of the best Amorphis tunes ever penned in my opinion. The keyboard work that is thrown in the middle is a great homage to the 70's and puts a smile on my face whenever I hear it and the structure of the song refuses to give in and builds up with another beautiful chorus delivered flawlessly by Pasi and the tune closes with a soothing guitar solo that fades into layers of white noise. Simply brilliant. "Crimson Wave" is another perfect tune that brings the band's creative approach to the focus of the album displaying the rich harmonies buried within the composition which we can hear on any King Crimson release of the early 70's. The sometimes overlooked "Veil of Sin" is the secret gem of Am Universum. The emotional singing is central here with subtle keyboard and guitar work dancing around the vocals. Songs like "Goddes (of the Sad Man)" and "Forever More" are more straightforward tunes we heard on Far from the Sun with their direct approach, repetitive choruses and more updated guitar sound.

Overall Am Universum has a lot of substance. The guys have created a very full album without depending on any filler tracks. This is perhaps the most complex disc of their last three outputs and this may be one of the factors why it gets bashed so badly by some. I enjoy every single Amorphis album to one degree or another but Am Universum ranks a bit higher than most of their other CDs.

Amorphis gone boring
Amorphis has a rich history of folk-laden metal. Am Universum unfortunately marks the step into truly mediocre material. They really had it going with Elegy and Tuonela, letting their progressive and folk influences shine through, but with Am Universum they cease being innovative and everything is watered down. It gets off to a good start with the melancholy "Alone," and a good start is all this album provides in a redeeming listen. Um Universum ceases good songwriting and soaring melodies and seems rather aimless, as if mixing in saxophone and various instruments is enough to be considered "innovative." Tuonela achieved much more in terms of being interesting while shedding its metal roots, so buy that instead. If you already have Tuonela, buy some Kingston Wall, a quality Finnish prog band with huge influence on Amorphis' later sound.

To anyone who accuses critics of this album as being "narrow-minded," it's an ungrounded accusation based on your own prejudice and/or shame of extreme metal. God forbid that anyone who dislikes this album is intelligent, open-minded, and listens to a range of music.
How the increasingly wispy Amorphis continues to be identified as a metal band is a mystery, given that the keyboard-laden sound of this Finnish band is one guitar away from being U2 or matchbox twenty. The difference between Amorphis and the mawkish side of modern rock is in the songwriting; Amorphis don't sell their songs away with craven pop hooks. Though very easy-going, Amorphis have the conviction of the Cult or Angel Rat-era Voivod. Most importantly, after wandering out of the Scandinavian metal ghetto in the mid-1990s, Amorphis is finally secure in its navigation of the ethereal. The wistful vocals, the tickling threads of guitar, and the expanse of electronic organ intertwine beautifully, so that Am Universum is never in danger of being blown off its course by any particular prevailing trend. Where the good ship Amorphis is eventually headed is a little harder to fathom. --Ian Christe
The 2001 album is breathtaking sonic landscape that is as graceful as it is magical, seamlessly melding harmonious vocals with lavish melodies and hypnotic guitar/keyboard interplay. Produced by Simon Efemey (Paradise Lost, Deceased). Standard jewel case.