Alamaailman Vasarat - Huuro Kolkko (2009)

Un disco que tiene mucho de Univers Zero y Miriodor pero al estilo Alamaailman Vasarat: mucho folk nórdico, machaques metaleros de parte de chelos distorsionados y música tradicional judía, otra aventura que relata las aventuras del desconocido explorador Huuro Kolkko. Un excelente disco para empezar la semana, obviamente, super recomendado!

Artista: Alamaailman Vasarat

Álbum: Huuro Kolkko
Año: 2009
Género: RIO / Avant-Prog
Duración: 39:17
Nacionalidad: Finlandia

Lista de Temas:
1. Mielisaurus
2. Liskopallo
3. Meressä Ei Asuta
4. Natiivit
5. Lounto Tuli Lähelle
6. Tujuhuju
7. Luola
8. Omalla Ajalla
9. Lautturin Viivat

Alineación:
- Jarno Sarkula / saxophones, clarinets, tubax, various ethnic woodwinds
- Erno Haukkala / trombone, brass
- Miikka Huttunen / pump organ, grand piano
- Tuukka Helminen / cello
- Marko Manninen / cello, theremin
- Teemu Hänninen / drums, percussion

Para aquel desprevenido que recién se acerca al blog cabezón, les cuento: Almaailman Vasarat es una banda instrumental formada a partir de las cenizas de una experimental formación llamada Höyry-Kone yq ue desempeña una forma muy creativa de la música popular y la vanguardia, donde incluyen metal, folk nórdico, rock y miles de variantes de mil estilos. Como descripción me causó gracias y me pareció muy acertada la siguiente descripción de la banda:

Alamaailman Vasarat ("los martillos del inframundo") es un grupo finlandés difícil de clasificar, pero intentaré hacerlo para la ilustración y fines de nuestros lectores.
Va masomenos así: Imagina que una banda de zíngaros que viven en un trailer park se enfrentan á la West Side Story con un grupo de judíos interpretando sus canciones klezmer favoritas. Pero en plena contiendo dos jóvenes se enamoran y tienen un hijo mientras la trifulca prosigue. Años después el niño, ya un adolescente, va en busca de su identidad y descubre la trágica historia de su concepción.
Esto podría ser el soundtrack de su Bar Mitzvah, fiesta de prom y despedida de soltero.

Kike

Sobre el disco en sí, y como lo adelante en la descripción del disco, en éste caso parece tener mucho del estilo de Univers Zero (mierda, también tendríamos que traer a éstos tipos al blog cabezón, cuanto que nos falta traer!).
El quinto trabajo de la original banda finlandesa es un disco conceptual que interpreta por medio de la música, una entretenida historia de aventuras y expediciones para homenajear a un explorador finlandés de principios de 1900, llamado Huuro Kolkko. La génesis del proyecto se remonta al año 2008, cuando un seguidor de la banda contactó a sus integrantes para mostrarles una interesante colección de insectos, notas y fotos, pertenecientes al explorador, las cuales había obtenido por medio de una herencia. Entre la colección se encontraba además muestras de flora, estudios de culturas locales, mapas de lugares nunca visitados por el hombre, tales como islas y un pequeño continente. Haciendo la analogía con el continente creado por el grupo en "Vasaraasia", su disco debut del año 2000, este admirador del grupo, pensó que los músicos podían encontrar en estos registros, material interesante para utilizar en la creación de nueva música. De esta forma, al conocer esta colección, la banda respondió y accedió inmediatamente.
Aquí tenemos su resultado:

Estos finlandeses es lo que tienen. Su estilo es tan remotamente distinto a cualquier otra banda, que la primera impresión que obtenemos al enfrentarnos a un nuevo trabajo es de continuismo. Pero no nos precipitemos, que aquí hay mucha más carne que cortar que la que pueda aparentar. Vaya, que aquí de continuismo nada.
De entrada, "Huuro Kolkko" es un trabajo más variado que los anteriores, más completo, más arriesgado y sobretodo incluye algunas piezas decididamente más épicas en las que sale a relucir ese espíritu progresivo innato. En otras palabras, un trabajo que se me antoja como el ideal para que la armada progresiva más abierta de oídos se inicie en Alamaailman Vasarat.
Ahí están trallazos hardcorianos como “Meressa Ei Asuta” o la épica “Tujuhuju” rozando el prog-metal. Y es que, pese a la ausencia de guitarras y al amplio abanico folclórico y jazzy, nadie puede dudar que el rock’n’roll corre por las venas de Alamaailman Vasarat.
Por no hablar de un tema tan perfectamente construido y adictivo como “Mielisaurus”, la magnificencia y sensibilidad progresiva de “Luola”, “Omalla Ajalla” donde se atreven con el swing, o dos bellezas como “Liskopallo” y “Lautturin Viivat”, que completan otro de los grandes trabajos de este grupo único.
Alamaailman Vasarat, una experiencia que cualquier aficionado al rock y especialmente al progresivo debería probar.

Ferran Lizana

Un paquete de cartas viejas, diarios, fotografías y bichos de un explorador sirve como excusa para esta aventura sonora, otra dentro de la gama musical que presenta el grupo, que si bien siempre tiene aspectos en común en cada disco, si bien no cambian demasiado su estilo tampoco nunca se repiten, aunque pueden llegar a parecer lo contrario si un domingo te ponés a escuchar toda su discografía.
Y aquí, una descripción más detallada, tema por tema:

Como es habitual en Vasarat, la música creada para este álbum recorre y toma influencias de una variedad de estilos diferentes. De ahí nace el particular y llamativo sonido de esta gran banda compuesta por Jarno "Stakula" Sarkula y Erno Haukkala en vientos, Mikka Huttunen en piano y órgano, Tuukka Helminen y Marko Manninen en cellos y Teemu Hänninen en percusión y batería.
En esta ocasión se sumaron además, dos instrumentos nuevos a la formación. Por una parte el theremin a cargo de Marko Manninen y por otra, el potente e imponente tubax, un tipo de saxo contrabajo tocado por Stakula, el cual por la potencia de su registro le da mucho más peso a los cortes de este nuevo trabajo.
De esta forma la historia de "Huuro Kolkko" comienza con "Mielisaurus". El protagonista está sumido en un extraño sueño, en donde un monstruo, (Mielisaurus), le cuenta acerca de lugares lejanos los cuales el hombre nunca ha visitado. Su prendida música va representando este agitado soñar por medio de riffs potentes y pasos profundos y marcados.
La historia continúa con "Liskopallo". Un corte variado en cuanto a los diferentes pasajes musicales que va mezclando, distintas escenas, algunas de potencia en las cuales los vientos van cruzando sus melodías; otras algo más reposadas a cargo del lirismo de los cellos. En esta pieza, el explorador decide investigar sobre las tierras mencionadas por Mielisaurus, pero al darse cuenta que la información es nula decide aventurarse y confiar en su instinto para adentrarse en tierras desconocidas.
En "Meressä ei Asuta" el protagonista ya ha emprendido su viaje y se encuentra en un barco en medio de una tormenta. La música va reflejando el caos tormentoso, y un oleaje intenso, representado por medio de oscuros riffs de cello, el potente peso del tubax y la intrépida melodía llevada por los saxos y el trombón. En su final el caos explota, dando paso a sonidos más dispersos y densos que representan la imagen del barco hundiéndose con su tripulación a bordo.
En "Nattivit" podemos dar cuenta de la suerte corrida por el explorador al ser rescatado por los nativos de una isla cercana y encontrar al fin las tierras que estaba buscando. Este corte contrasta totalmente con el resto tanto por su tranquilidad y pasividad, además de su carácter exótico y cálido, el cual va reflejando la apacible forma de vida que llevan sus habitantes.
Un pegajoso y canchero riff da inicio a "Luonto Tuli Lähelle", el que recrea un día de aventura y caza en compañía de sus amigos nativos. El cello marca sin parar la base, acompañando el potente beat de la batería. Mientras, los vientos van guiando con sus melodías la expedición, en la cual, a Huuro Kolkko le llama la atención una cordillera que se divisa a lo lejos y que los nativos llaman, "Tujuhunju". La describen con un lugar mágico pero peligroso. De esta forma el siguiente corte, interpreta el viaje del explorador hacia estas montañas nevadas de laderas resbaladizas. Acá nos encontramos con la composición más enérgica del disco: el riff del cello esta vez es mucho más intenso y rápido que los anteriores, los vientos y su melodía van representando diferentes insectos y lugares desconocidos y extremos.
En "Luola", el protagonista está a los pies de la montaña, preparado para entrar. Ahí se encuentra con una cueva de aspecto tenebroso, que se expresa por el particular sonido del cello tocado con una peineta. Al comenzar el recorrido por la cueva, melodías misteriosas y exóticas de los saxos van proyectando la imagen de paredes con antiguos dibujos y escrituras, hasta llegar a una cueva más grande en donde se le revela la respuesta de la humanidad, representada por el sonido del piano de cola. Este descubrimiento lleva a Kolkko a la locura, terminando el corte con sonidos de caos y desorden.
En "Omalla Ajalla", nos encontramos con el explorador de vuelta en la civilización. Se le ve por distintos lugares de Marruecos, tiene una mirada descontrolada y de su boca sólo salen palabras incomprensibles. La música es un entretenido y candente blues jazzeado, con la sección de vientos al estilo big band, además con un espacio melódico para todos los instrumentos y un final que representa la extraña desaparición de Kolkko, del cual se le pierde la huella para siempre.
El último corte llamado "Lautturin Viivat", es la despedida del protagonista, con música reposada pero con toques luminosos. Representa las últimas horas de su funeral: su imagen colgada en la pared está rodeada por flores y tarjetas; los últimos invitados que permanecen en el lugar se encuentran borrachos: una perfecta representación sonora de melodías decadentes y tristonas mezcladas con un suave matiz festivo.
Una entretenida historia de imágenes sonoras que logran representar, de forma precisa, cada uno de los escenarios y lugares creados para cada composición. Musicalmente la banda conserva la potencia y actitud rockera de sus discos anteriores y también, mantiene el concepto de gran ensamble, en donde todos los integrantes tienen la misma importancia en cuanto a participación instrumental, generando como siempre, música de mucha energía, originalidad y, lo más importante, de altísima calidad.

Ilse Farías A.

Si bien el progresivo de vanguardia es visto a menudo como aburrido o tedioso por la mayor parte de la gente, los Alamaailman Vasarat salen de esa trampa: se pueden bailar o simplemente escuchar éstos temas fascinantes durante casi 40 minutos y sin aburrirnos en lo más mínimo. "Huuro Kolkko" pasa volando. La sensación de que la historia no ha terminado, uno sigue esperando la culminación del disco aún cuando éste ya terminó. ¿Qué es lo que hace tan especial a la música de ésta banda? ¡La combinación de metal, folk y progresivo de vanguardia (a lo R.I.O.)?. ¿O que si bien la música es de vangiardia y compleja también es relativamente digerible y fácil de escuchar?. Sea como sea, los Alamaailman Vasarat demuestran en "Huuro Kolkko" que son una de las bandas más originales en el género RIO / Avant-Prog. Una vez más tienen éxito con su combinación popular de metal-RIO. En cierto modo, su estilo es bastante accesible incluso para quienes no son aficionados a la música experimental o progresiva, ya que su estilo incluye música dinámica que puede resultar a veces similar al ska, alegre que puede sonar cercano a la música de circo o incluso la banda de rock balcánico al estilo Kusturica. Es difícil para cualquier persona no caer en esta trampa musical y que alguno de éstos estilos no le guste.

What a band!This band is a great example of what it is progressive.Their music is a blend of metal,punk and oriental music.Specifically they use persian scales.They don't use rock orchestration.They play with classical instruments.But also they have saxophone,accordion,trombones e.t.c.That's the amazing thing about Alamaailman vasarat.They're the metal-oriental version of Apocalytica.I am very impressed with this band!I'm very satisfied that there are such great bands like this.The music of the album and generally the music of the band will remind you Slayer,Goran Bregovic and Apocalyptica.So,you understand for what experimentation I'm talking about.I review this album first because is the one that I've heard most.Also their music is very appropriate to be a soundtrack in a movie about America of 50's.
My favorite tracks are:Mielisaurus,Meressa ei asuta,Luonto tuli lahelle(reggae-jazz with Goran Bregovic),Tujuhuju(oriental thrash metal)and Omalla ajalla(smooth jazz)
I recommend it to everyone who appreciates good and special music.A music gem!
My grade: 8,5/10

George Miskedakis

Fifth album of this crazy Finnish group that is now well established, but are also now busy rethreading the same fabric with not much change ever since their debut album. Well, I guess I'd better be clear: there are novelties here. First this is a concept album about the explorer Huuro Kolkko (hence the album title), although you'd have a hard time telling what the story is about since there is no vocals (call back on Tuomari Nurinio???;o)))) and the booklet says nothing of the concept's storyline. Second, Jarno Stakula (ex-Sarkula) has had built custom for him a new "tubax" (a contrabass-sax), and the group acquired a Theremin, but none of this is likely to provoke drastic changes under the midnight sun or noon moon.
Unfortunately, the group doesn't extend their scope from their usual Kelzmer-Manouche soundscape, which by now are really wearing thin on the most resilient Avant-prog fans like me. Even more so that the group is hardly the only one occupying that niche - look towards Quebec or to a lesser extent Belgium. If the debut had managed to make a small dent in the music market and cause a shock with its Black Metal Cellos and nearly-uncontrollable brass, one must say that after 4,5 albums, this one is not much different and certainly never surprises the auditor. Whether this album is better than the previous ones? Worse , certainly not, better also not. Neither is it different or unusual for them.

Sean Trane

Univers Zero goes Klezmer and trash metal simultaneously, or RIO is undead. Welcome to Alamaailman Vasarat, or the "Underworld of the Hammers".
The only one negative thing about the Hammers' latest masterpiece "Huuro Kolkko" is that it is a little short with it's 39 minutes. But it rocks! And it does that - this time - without any kind of a guitar. Now, that's an achievement! These Finnish virtuoso's do it, using a fancy collection of string and wind instruments, including two cello's, Tubax and Theremin. Now, what on Underworld are those last two things? Tubax is a "truly rare beauty", a special contrabass saxophone. This is what you will find on Wikipedia about it: "a modified saxophone, developed in 1999 by the German instrument maker Benedikt Eppelsheim." It seems to be a result of crossbreeding between tuba and sax, hence the name. Heil to this German musical botanist! Tubax is a real fun; it is huge and makes very, very low sounds. I guess, it's quite hard to play on that underworldly thing. According to the band, the instrument was made by Eppelsheim especially for Jarno "Stakula" Sarkula, the band's leader and composer of the most music. And Theremin... You know, the first synthesizer, invented by the Russian Professor Theremin in 1920s? Anyway, you play it by moving your hand between two antennas.
"Huuro Kolkko" is a concept album named after an until now unknown Finnish explorer of the begin of the 20th century. Read the whole story on their site, very amusing. In short, one night Kolkko is inspired by a strange vision, undertakes an expedition, finds an unknown continent and stumbles upon some mind breaking phenomenon there, which results in his madness. And that is a pity: now he is not able to tell anybody about his discovery.
The album starts with a stunning, hallucinatory opener, "Mielisaurus" ("Mindsaurus"). I couldn't write a better description of the song, than one the band did themselves. It "can be described as a shining example of "Hammerbilly" music style, starts with cellos and pump organ, followed by Tubax ? and enters the verse with tenors and trombone. Don't miss out the haunting Theremin in the calm section before the end." What can I say more? Listen to it, you will be blown away.
All other songs on the album are highly imaginair composed, fantastically played and arranged with an unbelievable density and enthusiasm. You will hear a thousand beautiful tunes, music styles and moods, all according to the story of course. Once more, on vasarat.com you will find notes and explanations to every song. No need to repeat it all here. Read it, you will see the film called "Huuro Kolkko" before your eyes, and surely smile more than once. The guys definitely have a sense of humour, which you will also find in the music itself by the way?
Alamaailman Vasarat was founded in 1997 by Sarkula and drummer Teemu Hänninen. "Jarno had just bought a soprano sax - a reason enough to start a new band!"? This is their fifth album. Their earlier efforts didn't went unmentioned as well. They received Finnish Teosto prize in 2005 for their collaboration album "Kinaporin Kalifaatti" (with singer Tuomari Nurmio). They have done theatre and film music, among others for an animated movie Elukka ("The Animal"), which has got an award for the best music score at French film festival Premiers Plans in 2006. They played on many festivals, including world music and progressive rock festivals. Among them are Músicas do Mundo (Portugal), Stranger Than Paranoia (Netherlands), TFF Rudolstadt (Germany), Urkult Folk (Sweden), Pit Inn (Japan), NEARfest (USA), etc.
Let me give you this one piece of advice: if you like Univers Zero and Henry Cow, or you are an open minded music lover, looking for something really new - buy this album, and all the rest, you will not regret it. I myself regret only one thing: that I discovered the band only now, ergo I deprived myself of a huge pleasure during the last 10 years. At least 5/5 stars here, please!

justaguy

Great album (like all their others). The only one I didn't like was the one with the singer but that was more a side project. I think the review is too harsh -no there's not a lot of change from album to album but its not exactly the same - its the tunes and arrangementsd that differ, not the instrumentation. With two cellos, drums, keyboards, trombone and saxes, there's plenty of variations depending on the parts each instruments takes in each number. There's so much going on with the unusual lineup and the dense compositions I don't feel bored by them at any point. I can't understand why they should be criticised for 'stayin the same' when there's at least as much variation between albums as say consecutive Univers Zero albums. As for the comment "Even more so that the group is hardly the only one occupying that niche - look towards Quebec or to a lesser extent Belgium" -what?? I've never heard another band that sounds like AV -Afenginn are possibly in the same general area but a lot more gentle and folky, but who in Quebec or Belgium is doing this? Or is the reviewer just lumping them in with all the chamber rock groups like Aranis? I can't see any point of comparison there.

Alan Terrill

If it's true, there's a wonderful story behind this disc. It supposedly tells the tale of an unknown Finnish explorer, the Huuro Kolkko of the title, who was brought to the band's attention by a fan who was related to Kolkko and read through his journals. Given that it's all instrumental, it's hard to be sure, however, and the music gives few clues. It's progressive jazz of the Zappa and Zorn school, with a dollop of world music. The music is thrilling, with some marvelously heavy cello riffing on "Natiivit," for instance, but shifting moods to the closing melancholy of "Lautturin Viivat." The lineup offers plenty of variety, with a double cello attack, theremin, keyboards, drums, brass, and wind, including the tubax, a contrabass sax specially made for bandmember Stakula. A well-kept secret, this is a band that's ripe for wider discovery, and this disc could do the trick.

Chris Nickson

Huuro Kolkko is the fifth studio album by this Finnish band with the nearly unpronounceable name Alamaailman Vasarat, which means Hellhammer. They have nothing to do with black metal though, but use clarinets, saxophones, trombones, tubas, organs and cellos to investigate a folkier sound.
Even though Alamaailman Vasarat are an instrumental band, Huuro Kolkko is a concept album about a Finnish explorer and adventurer who was quite active in the early 1900s.
From a musical perspective, Alamaailman Vasarat create a journey which is hard to access, which makes out their peculiar charm. The songs rarely follow a regular pattern, and that’s why it doesn’t surprise that some tracks were recorded entirely live, while others come without any folk elements. Folk constitutes the scaffolding of their sound, but expect much more. The cello adds a monotonous touch that has something quite hypnotic. The strings are plucked in a way that sounds jazzy at times. The flutes procure an oriental atmosphere, and even gypsy elements show up from time to time. The quiet piano passages should even warm the hearts of fans of classical music.
The songs always contain more than just one idea. There are lots of breaks that flow seamlessly into succeeding parts. This can best be heard on Tujuhuju that starts out fast, inviting to dance. Getting more hectic by the moment, it finds a surprisingly dark end after five minutes. Unexpected changes like this happen quite often, but should be discovered by the listeners themselves, which is why I won’t reveal to much now.
Friends of contemporary music will have a great time with Huuro Kolkko. This is an album unsuited to be listened to absent-mindedly, but if you’re willing to invest time and concentration, you will get your just reward.

www.disagreement.net

I’ve always been interested in the weirder side of folk music, less the depressing singer-songwriter side and more the creative chaos that can result from very talented musicians playing traditional instruments in new and exciting ways. The genre at its best shares a lot of jazz’s freeform experimentation and willingness to explore, and this, an album from Finnish six-piece Alamaailman Vasarat (‘Hammers of the Underworld’) is a perfect showcase. Somewhere between the avant-garde, prog, folk, klezmer and jazz, the band create rather wonderful soundscapes and explorations with their various instruments that makes for fascinating listening whether you’re a hardcore neofolk fan or you enjoy the humppa side to Finntroll’s sound. I first heard of the band a long time ago but was only reminded of them when linked to a live recording, typically heavy and skilful with a clear edge of the humour that so enhances folk music.
It’s hard to sum up the various songs as they are, being fully instrumental and based around the life of an explorer (the band explain the album fully here). Yet just listening is enough of a pleasure even with the explanatory notes, the band highly skilled and travelling through multiple genres over the course of the album. Of most interest will be the metallic aspects, something Alamaailman Vasarat do have as the speedy crunch of Tujuhuju shows off with scissoring and stomping cello riffs beneath a riotous klezmer whirl. I suppose an obvious comparison to be made is to the Norwegian Shining’s Blackjazz album, although Alamaailman Vasarat are far less electronic in sound and less metal overall.
Of course, I don’t want to give the impression that Alamaailman Vasarat are something that they’re not, and without a doubt this is folk first and foremost. You’ve rarely heard folk like this, however, the smoky jazz-club ominous vibes of Luola, the swinging melodies of Mielosaurus, the distinctly King Crimson-esque Liskopallo. Prog as a genre is often pigeonholed to deliberately exclude this sort of music; a stunning shame, as this is far more exciting and experimental than whatever Yes tribute act is currently flavour of the month in prog’s elitist circles. Take the psychedelic mix of sounds in Meressä Ei Asuta, big band brass over a swirling undercurrent of melodies, climbing atop each other like the insects on the artwork. Or the sweet and gentle Natiivit, peaceful with just a hint of fear...
What we hear in a particular piece of music is up to our imaginations, yet few are as capable as Alamaailman Vasarat at telling their story, painting the picture with their instruments. Folk is always more inviting than other genres, and this is especially good at gleefully breaking down inter-genre barriers and inviting you atop the wreckage to dance. As an introduction to Alamaailman Vasarat’s world, it’s brilliant, and a wonderful reminder of what skilled musicians can do when they try. 86 / 100.

Goat

What's all this about, then? Avant-garde progressive Finnish folk, you say? On a metal website? Do me a lemon, pal. I've got a stack of records taller than you to get through, all full of shouting white men fumbling away at many guitars.
In retort, dear reader, I humbly submit that, despite taking its title from the sound accompanying a Saturday night kebab shop doorway-based regurgitation episode, _Huuro Kolkko_ is a sodding brilliant record and if you don't like it, you're an idiot.
If the beards alone don't qualify Alamaailman Vasarat for inclusion in this periodical, then their name surely does. It translates to Hammers of the Underworld, which, for those sorts of people who care about that kind of thing, is officially "Metal as Heck". Because I said so, that's why.
Armed with a slew of brass and woodwind, a couple of cellos and a pump organ -- not a guitar in sight -- Alamaailman Vasarat are capable of churning out a slurry of noise, thicker and fuller than many of these so-called "downtuned" beat combos I hear you kids are so fond of nowadays. It's a moody record, chock full of attitude, atmosphere and ambience. Also, the saxophone player has a marvellous line in top hats.
Much of the work here is busy, upbeat music I could see myself dancing to if my arse wasn't grafted to this computer chair. "Tujuhuju", by way of example, creeps guiltily out of its bedroom past midnight, to the accompaniment of plaintive cello scrapes, before loping effortlessly away out the front door and off into the wilderness, harnessed to the back of a frantic punkish beat. Then, as if gripped by an abrupt change of heart, its last minute or so chugs like a fratboy one beer away from a stomach pump.
God knows what "Mielisaurus" means in English, but it's an appropriately Jurassic-sounding name for a tune that is frankly monstrous, a loose assemblage of low-register brass honks and mean strings, swinging merrily away at each other like a couple of one-eyed boxers. And "Natiivit" is a lump of pure delight, a shuffling, lilting refrain reminiscent of old-school New Orleans.
"Luola", by contrast, is a more sober moment, like a funeral held in the shadow of the Wailing Wall, its muscular groove standing in counterpoint to the record's overall pace. It's a reedy, dissonant cry laid on top of a chunky backing labouring patiently uphill in first gear when, literally out of nowhere, it emerges into a gentle piano recital not dissimilar to Ravel's "Bolero". Or let us consider "Meressä Ei Asuta", which sounds like some sort of catchy 1970s TV theme filtered backwards through a special Scandinavian tea strainer made of petrified wood and nightmares about wolves.
As comically abstract and oblique as all of these descriptions are, they fail utterly to capture the full immensity and intensity of the Alamaailman Vasarat sound, something so unlike anything else I can think of that _Huuro Kolkko_ has claimed a spot in my rotation on that basis alone. There are no vocals to speak of, which suits me to a tee, and which has the direct consequence of pushing out the boundaries of the music on offer, drawing the focus of the ear to plains hitherto uncharted.
Ultimately, this is the best way I can summarise it: _Huuro Kolkko_ sounds almost precisely like a fully loaded percussion delivery truck careening directly through an Hasidic wedding party after losing it on a tricky bend coated in treacherous Finnish black ice. It is utterly smashing. 9 out of 10.

Noel Oxford

Un disco excelente, creo que no hace falta que se los recomiendo; pero por las dudas se los digo: no se lo pierdan ni en pedo!