Amen 3 is the most heavenly entry in Mikko Joensuu's superb solo trilogy

Amen 3 is the third of three thematically linked - Joensuu grew up in a devoutly religious household and his gradual alienation with religion and associated self-doubt keep cropping up - solo albums that Joensuu’s released in little over a year. This constitutes a pretty hectic level of productivity, considering that Joensuu has mainly acted as a sideman for others since Joensuu 1685, the celebrated cult Finnish shoegaze revivalists that he fronts, went quiet around 2010.

The first two instalments of Amen were powerful stuff. The highlights of the stark, sombre, predominantly acoustic Amen 1 ("Warning Sign", "Closer My God") suggested early Leonard Cohen or Townes Van Zandt (with subtle nods to Finnish folk song forms) stuck waist-deep in snow by a frozen lake, with not a soul in sight. They presented the very clear possibility that last year's finest sounds in the alt. country domain originated from Finland. Amen 2 supplemented its predecessors lonesome pedal steels with Autobahn-cruising keyboards and expanded the stylistic palette to include the propulsive electronic textures and nods to Neu!/Harmonia legend Michael Rother that powered the soaring "There Used To Be a Darkness", introducing a drop of hope to its predecessor's desolate sparseness and lingering air of spiritual doubt and existential turmoil.

For Amen 3, Joensuu's allowed the tracks to evolve and grow at their own pace, without constraints. The result is a stunning realisation of its predecessors' ample promise of a totally distinctive sound and deeply personal songwriting style that steers well clear of the usual topics - relationships, romantic turmoil - singer-songwriters spend their time on. Joensuu's hardly the first artist to explore the melancholy potential of electronic textures. However, the combination of minimalist electronica and almost unnervingly intimate, soul-baring songcraft that propels most of Amen 3 seems totally unique, and remarkably fresh.

It's hardly an easy sell. With five of its six tracks stretching well over the 10-minute mark, there are undoubtedly moments when it feels like Joensuu's accidentally left a loop running whilst popping out for a coffee. Give it the full undivided attention it deserves, though, and tracks such as the 18-minute (!) "The Worst in Me" - which starts off as a wounded lament of emotional warfare, so slow the track is virtually standing still, before building up to a beautifully serene instrumental coda reminiscent of Neu! after a dose of sleeping tablets (that's meant as a compliment) -soon reveal the huge emotional resonance of the vast canvases Joensuu's now painting on. A startling electronic ode to a transformation (possibly death, possibly a new life free of old baggage; one of the most alluring aspects of Amen 3 is that you never quite know where line between happy and sad, burdened and relieved/released is drawn), "House of Fire" is even more affecting. On first listen, the cascading melody - once it emerges after an extended build-up - seems awkwardly attached to the insistent electronic clatter, but the track soon starts to cohere and make glorious sense.

Elsewhere, the propulsive electric guitars of "Birth" - a song about leaving that never quite establishes whether the new beginning is infused with hope or dread - provide a link to the rock-orientated textures of Amen 2, whilst the majestic, cloud-hugging "Dream About A Miracle" - unfurling unhurriedly and loosely like a cloud gliding through the sun-lit sky - may well be the most moving bit of balladry on any of the Amen's. Finally, the closing "Pearly Gates" takes us back to the sparse acoustic approach and overtly spiritual themes of Amen 1. Only this time, Joensuu keeps the track going until it builds into an epic soundscape worthy of a vintage Hollywood Bible epic. It's as fitting an ending to this hugely impressive trio of records as an ‘amen’ at the end of a prayer.