I really don’t need to expound on the many things that delayed this release. “Time I” came our 12 years ago. Haters, particularly Americans, most of whom usually talk out their ass, blame Jari for greed. From what I understand, however, Nuclear Blast would not advance him the money to record this album. The state of the record industry today is very different than what it was 30+ years ago. Independent artists like WINTERSUN have no leverage against their label. Plus, Jari is a perfectionist, and doesn’t want to release an album without his full attention to every detail. So, what I am saying is that I don’t blame him in the least for holding out. They crowdfunded and came up with more than enough money for the album. It would appear that their many fans are still rabid. “Time II.” In any case, it is here, and it is undoubtedly one of the most anticipated releases in the past decade.

“Fields of Snow” is the first cut. It is a great lead-in song, with beautiful piano notes and other Eastern instruments, along with the epic sense of what might follow. Hardened Nordic tones meet headfirst with delicate Eastern tones in a way that only WINTERSUN can conjure. “The Way of the Fire” is next, and it explodes with rolling drums, thick guitar work, and the usual harsh snarl of Jari’s vocals. You could dissect the many tracks used to record this song and never fully grasp their impact or meaning. Somehow, when they are combined, they create pure magic and alchemy. Every note is where it should be, and I would expect nothing less. The lead guitar parts are outlandish and over the top, yet so vital. “One With the Shadows” has a slower pace and solemn tones. Consider the meaning of the title…it could refer to a person who is so used to being along, he takes solace in the shadows and the darkness. It has a heavy emotional burden that weighs heartily on the listener, and once again, has outstanding lead guitar breaks.

“Ominous Clouds” is a two-minute ride over tense, dark horizons and a rising wind, signaling the coming of a storm. That crown jewel is the “Storm.” It begins with light thunder, rain, and clean guitar parts. Piano joins in as the skies darken, and the massive boom that follows is the heart of the event. Like any storm, its wrath can toss and turn you with the shake of a finger. The rolling drums represent the intensity, and there are colossal climaxes. One noteworthy one is the impassioned guitar solo. As fast as it came, it exits, leaving a path of destruction in its wake. “Silver Leaves” closes, and it might be the best song on the album. Soft rain and Eastern sounds abound in the beginning, followed by slow and steady clean vocals with lead guitar carrying much of the somber sound. In mythology, silver leaves symbolize purity, innocence, and strength. The Greeks considered silver as a sacred metal that represents the moon goddess, Selene. It is said that wearing a silver leaf pendant or charm can serve as a talisman to protect one from negative energy and invite positivity. This kind of fragile power best represents the dichotomy in the song. Its shell is hard, and unbreakable, yet its core is soft, pliable, and vulnerable.

Every superlative one can think of can be accurately used to describe the album. It intermixes a sense of grandeur with intimate emotional layers, and the listening experience is vast and transcendent. Time can be defined as “the indefinite continued progress of existence and events in the past, present, and future regarded as a whole,” a concept that is difficult to grasp in its totality. That is what the album represents to me, something that is boundless and enduring.