Nightwish returns after a four-year hiatus with Yesterwynde, an album that manages to simultaneously embrace the familiar and push new boundaries. Billed as the conclusion to the trilogy started with Endless Forms Most Beautiful and Human. :II: Nature., this record is a sprawling, occasionally bewildering, yet deeply rewarding journey through soundscapes both intimate and grandiose.

The opening title track, Yesterwynde, eases the listener into the album’s dense world with ethereal choirs and delicate folk instrumentation. It’s a slow burn, but by the time Floor Jansen’s powerful voice appears, the stage is set for the first in a series of increasingly intricate compositions. The eerie calm quickly gives way to An Ocean of Strange Islands, a chaotic whirlwind of orchestration, where Tuomas Holopainen’s keyboards jostle for space amidst Kai Hahto’s thunderous drumming and Emppu Vuorinen’s driving guitars. Initially disorienting, the track eventually finds its stride, transforming into a solid epic that, while reminiscent of Nightwish’s earlier works, retains enough novelty to keep it engaging.

If the early tracks are about finding equilibrium, The Antikythera Mechanism shifts gears, offering up a heavier, more grounded sound. This is Nightwish at their most metal, with grinding riffs and relentless percussion forming the backbone of a song that sees Troy Donockley step in for a brief yet impactful vocal cameo. Jansen’s performance here, as throughout the album, is nothing short of spectacular—her ability to navigate the complex, winding structures of Holopainen’s compositions is truly remarkable.

The album hits its stride with The Day of…, a track where Nightwish dial back the bombast just enough to let the song breathe. Hahto’s funky drumming adds a different edge, while Jansen’s soaring vocals blend seamlessly with the children’s choir that emerges as if from nowhere. It’s a joyous, yet intricately layered piece of music, showcasing a band that knows how to balance ambition with accessibility.

Not every song is as immediately captivating, however. Perfume of the Timeless is a slow burner that tests the listener’s patience, but perseverance is rewarded as the track eventually explodes into a richly textured tapestry of sound. It’s here, about halfway through the album, that the listener truly starts to appreciate the depth and thoughtfulness of Holopainen’s songwriting.

Sway offers a brief respite from the album’s relentless intensity—a gentle interlude that provides just enough breathing room before launching into the cinematic grandeur of The Children of ‘Ata. With its big choruses and punchy instrumentation, this track is Nightwish at their most direct, delivering a straightforward symphonic metal banger that stands out for its restraint as much as its power.

The final act of the album showcases Nightwish’s more experimental side, beginning with Spider Silk, an album highlight. Built on edgy, jittery rhythms that create a sense of tension and release, the song is a masterclass in dynamics, ebbing and flowing with precision. Jansen once again takes centre stage, but this time the whole band rises to meet her, delivering what is arguably the most cohesive performance on the album.

Hiraeth and The Weave take the listener into more subdued territory, with Donockley’s vocals on Hiraeth adding a fresh texture to the band’s palette. Both tracks explore the delicate interplay between Jansen’s voice and the band’s lush instrumentation, but it’s the penultimate track, The Weave, that feels the more compelling of the two, with Jukka Koskinen’s bass providing a solid foundation beneath the shimmering orchestration.

The album concludes with Lanternlight, a piano-led ballad that strips away the bombast in favour of a more introspective, minimalist approach. It’s a fitting closer, harking back to the grandeur of Once without feeling like a retread. The slow build from soft, delicate moments to a soaring crescendo feels earned, and as the final notes fade, there’s a sense of closure—both for this album and the trilogy it concludes.

Ultimately, Yesterwynde is a challenging, at times uneven, yet profoundly rewarding experience. It may not convert new listeners instantly, but for those willing to immerse themselves in its depths, it offers moments of true brilliance. Floor Jansen’s vocal performance is the undisputed highlight, but this is very much a team effort, with each member of Nightwish contributing to a complex, layered, and ultimately triumphant work of symphonic metal art.

Yesterwynde is out now.