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Thread: FEATURED CD: Haikara - Geafar

  1. #51
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    So the CD editions of Obus and Iso lintu are out, and both sound very good to my ears, full but not overcooked. Quality work, as is usually the case with Rocket Records productions. Obus has a very lavish booklet, Iso lintu a more pedestrian one. The Dylan covers on Iso lintu are nothing special, though the tongue-in-the-cheek pop entry “Janne” with its Sibelius quotes is a nice thematic twin to the song “Kuinka ollakaan” on the album. The Obus bonus tracks are more in line with the album material, though I wouldn’t call either one essential (unlike their composer ).

    Anyway, here is my translation of Juha Rantala’s rather lengthy essay on Nimbus, with a few annotations and additions that a non-Finnish reader might find useful. It's split between two posts to get around the 10 000 character limitation.

  2. #52
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    NIMBUS

    The roots of the prog band Nimbus can be traced back to the small city of Salo in the southwest of Finland in 1967. It was there and then that guitarist Harri Suilamo (born 1954) founded his own band with three friends. They included bassist Hannu Vuorisaari (born 1952), rhythm guitarist Juha Jokiranta (born 1954) and drummer Matti Jokiranta (born 1955). At the time all the members were between 12 and 15 years old. Their initial repertoire comprised rock hits of the day, with songs by The Beatles, Cream and Procol Harum among others.

    The band began gigging around the turn of the decade. They chose Mafia as their name, and played instrumental versions of global hits.

    Mafia hadn’t played live for long, before they experienced their first line-up change. Bassist Hannu Vuorisaari left to serve his military service. At the same time, Juha Jokiranta switched from rhythm guitar to bass. Harri Suilamo, particularly, was pleased with the change, as he had felt a rhythm guitar wasn’t a right instrument for the band.

    Having become a live band, Mafia now felt they needed to add a vocalist to their ranks. Suilamo and the Jokiranta cousins found the right singer from a band from Halikko. Pasi Saarelma (born 1955) was recruited into Mafia in November 1971. By this time, the group were gradually but persistently replacing their repertoire of contemporary rock hits with progressive rock songs. They would play both covers and songs by Harri Suilamo. With the evolution of their musical style and incorporation of original material, the group had to step up their practising. Mafia would play together nearly every day and along with honing their songs, do half an hour of pure improvisation.

    Mafia received substantial support from Seppo Pietikäinen, a local man involved in many aspects of the music scene. He began to manage the band, sold their gigs and would later sort out details related to recordings.

    Mafia also started getting noticed outside their native Salo. In 1972, the group won fame and recognition on several occasions. In the spring, they won the jazz and pop series at the Youth Art Happening, first on a local and then provincial level. Near the end of the year, they did well on the national level at Jyväskylä. This won them the invitation to play on the television programme Mafiasta Maarian kuoroon (“From Mafia to Mary’s Choir”) on December 12th 1972. They performed parts of their composition “After the Origin and Evolution”, which they had played in the competition. Seppo Pietikäinen later called the performance “hot stuff”. According to Pasi Saarelma, Mafia’s performance was “about weird as you could possibly get” and without a head or tail. He thought Mafia had been playing modern art music rather than rock.


    THE FIRST RECORDING DEAL

    One of Mafia’s most significant performances was at Salo’s Bio Jännä cinema in the early autumn 1972. They opened for the giants of Finnish progressive rock, Wigwam and Tasavallan Presidentti. The latter’s bassist and Love Records’ producer Måsse Groundstroem was impressed by what he heard and suggested that Mafia should cut a record.

    Mafia began working with Love Records, and travelled to studio in March 1973. However, the ten-hour recording session only yielded a half-completed version of Suilamo’s composition “Myrskyjen välillä” (“Between Storms”), which was never released.

    In May 1973, Mafia changed their name to Nimbus. In August they headed for the two-track Microvox studio in Lahti for a recording session financed by Love Records. With Groundstroem producing, the band recorded two English songs written by Harri Suilamo, “Heretic Fool” and “Ode to Eagle”. These were slated for a single release, but those plans were soon scrapped. Next the songs were going to be included on the compilation Rock & roll juhlaa 4 (“Rock & Roll Celebration 4”), which was released in March 1974. This didn’t happen either, and the songs remained unreleased.

    It’s likely that as Love Records had started scoring hits with the less complicated rock of Rauli “Badding” Somerjoki, Hurriganes and Juice Leskinen, among others, a nationally almost unknown Nimbus was put on the back burner. “Ode to Eagle” would finally be released in 1996 on Siboney’s Love Proge compilation.

    From November 1973 on, Nimbus could also be heard playing Harri Suilamo’s compositions in the Salo Youth Theatre’s production of the rock play Vapaan maailman laitamilla (“On the outskirts of the free world”). “The play tried to dramatise how difficult it is for a young person to balance between normal life and the so-called youth culture with its pop music, trendy clothes and discos,” a local newspaper described the show. The play’s score was lauded and it brought Nimbus victory in the 1974 national Youth Art Happening in Kouvola.

    In late 1973, Nimbus became a quintet with the addition of keyboard-player Pekka Rautio (1955 – 1995). In January 1974, Nimbus gained wider recognition with a 40-minute session recorded for the Finnish Broadcasting Corporation, which was aired in the Popstudio radio show. Among the six songs were “Heretic Fool”, “Ode to Eagle” and “Myrskyjen välillä”. Also included were the Greenslade cover “Feathered Friends”, the instrumental “Aamumaa” (“The Morning Land”) and “Pessimistinen dialogi” (“A Pessimistic Dialogue”), which would later be recorded for the group’s debut album. Harri Suilamo considers “Aamumaa” as one of Nimbus’ best songs and has later regretted that it wasn’t included on the album. He thinks the song was dropped because it was too long for the album or didn’t fit in with the rest of the material.

    Nimbus’ live repertoire matched their radio set list, consisting mainly of their own compositions. They would still play an occasional cover, including Frank Zappa compositions.

  3. #53
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    OBUS

    After Love Records had lost interest in Nimbus, manager Pietikäinen sent the group’s demo tape to Satsanga. Satsanga Records was Jukka Kuoppamäki’s small record company that was active from 1973 to 1978. Satsanga released mostly records from iskelmä artists, including Kuoppamäki himself. [1] It also put out a few rock records during its short history, including albums by Haikara and Castanja. Their rock albums tended to get little attention, however.

    Sending the demo tape paid off, because Jukka Kuoppamäki and his brother Mikko loved what they heard. The brothers went to the Salo fair in June-July 1974 to check Nimbus out. That clinched the record deal. Nimbus were booked to the Microvox studio, where they had recorded their unreleased single the year before. Even as the contract was being finalised, it was clear that Nimbus would be making a Finnish album based around Suilamo’s song suite which took a rather pessimistic view of the future.

    One couldn’t just march into a studio in the 1970s. The demand was so high that the studios might be fully booked for months ahead. The latter part of the year was a particularly busy time, as all record labels were racing to produce their artists’ songs for television’s annual Syksyn sävel (“The Autumn Tune”) song contest. The peak years saw hundreds of songs recorded in the few studios Finland had.

    Nimbus got to the studio in October 1974. They were given whopping three days to complete their album Obus. [2] That wasn’t much time to make an art rock album. Even singer-songwriter Kari Peitsamo, once called Finland’s fastest recording artist, couldn’t finish his three-chord band albums in that time.

    Though Obus was recorded quickly, the process was far from easy for the group. They pulled out all the stops rehearsing their material. Obus contained six compositions, five by Harri Suilamo, one by Pekka Rautio. On a few tracks the group were supported by Rautio’s brother Matti on violin. Mikko Kuoppamäki co-produced the album.

    Seppo Pietikäinen also left his mark on the album, for he took its stylish photograph. The picture was shot in Halikko in front of the Vuorentaka Manor, the oldest still inhabited stone mansion in Finland. The album’s graphic design was by Martti Lehtonen. His Nimbus illustration was nearly identical to the group’s concert poster at the time.

    The hastily recorded Obus made it to the shops before the year’s end. Some copies included a four-page insert with the song lyrics and photographs. In Salo the album was hailed as a milestone, as it was the first ever album release by a young local band.

    Progressive rock fans and music media also approved of the album, but the record-buying masses remained indifferent to it. This was most likely partly due to poor marketing, but also due to the fact that the album was released by a label with little brand value in the rock market.

    Later the album has received considerable attention, both domestically and abroad, becoming one of the most sough-after and valuable Finnish progressive-rock records. A good-condition copy with the insert will set you back several hundred euros.


    CONFLICTS

    Soon after the album’s release Nimbus went through line-up changes. First military service took Juha Jokiranta away from the group for nearly a year. The other members became bitterly divided over the direction the band should take. While Harri Suilamo and Matti Jokiranta wanted to take further steps into a more ambitious direction, Pasi Saarelma and Pekka Rautio favoured a more straightforward and less serious approach. An anecdote demonstrates their division. On the song “Ennustus” (“The Prophecy”) Harri Suilamo had listed “three heavy Ps” that he feared would be defining humanity’s future: “pakko, pelko ja pariton luku” (coercion, fear and odd number). Pekka Rautio mischievously rendered them as “pillu, pilvi ja pitkä tukka” (pussy, pot and long hair).

    The band’s inner conflict finally came to a head with Harri Suilamo leaving the band he had founded. The group replaced him with the singing guitarist Jussi Blomqvist and simplified their music somewhat in hope of getting more gigs. Those gigs didn’t materialise, however. With the departure of the Jokiranta cousins, the last founding members, at the end of 1976, the book closed on Nimbus. The break up inspired several articles and letters to the editor in the local press. Insufficient support by home audience was put forward as one reason for the break up.

    Nimbus remained inactive for over thirty years. In 2007, they reformed for a single gig at Salo’s K-40 Rock Show event. They played in the Obus line-up, except for Pekka Rautio, who had died in 1995. His place on the keyboard was filled by Harri Suilamo’s daughter Sanni Suilamo.

    After Nimbus, Pekka Rautio and Pasi Saarelma played in the band Motelli. They recorded a single, but for some reason it was never released. [3] From the 1980s on, Pasi Saarelma has worked as a music teacher. He has also had parts in many opera and musical productions. The most successful post-Nimbus musical career belongs to Harri Suilamo, who is now a respected art music composer. Juha Jokiranta became a taxi entrepreneur, while his cousin Matti ended up as a technical designer for Nokia. He has also played drums in the Salo group Piazza Brass.

    A CD version of Obus has been on the wish lists around the world for a long time. The album has already been bootlegged by a South Korean label. The Rocket Records CD edition is the first legitimate re-release of this cult album. The CD also includes the songs “Myrskyjen välillä” and “Aamumaa” from the Popstudio performance in January 1974.

    The career of Nimbus and its predecessor Mafia is covered in more detail in the book Koit ny rauhottu! (“Try to Calm Down!”) by Mikko Vienonen and Timo Lähteenmäki. The present liner notes [and translation] were based largely on this excellent book on the history pop culture in Salo.

    [1] Iskelmä (literally “a hit song”) is the Finnish equivalent for Schlager, generally denoting the more traditional Finnish popular music. Though it originally simply meant any kind of song that was popular, in the early-1970s iskelmä was seen more as its own genre and distinct from the new Anglo-American pop or rock music. Jukka Kuoppamäki was a popular purveyor of typical iskelmä.
    [2] Apparently, the spelling was designed to rhyme with Nimbus.
    [3] Motelli’s single “Oscar Wilde” / “Akka akka” was produced by Wigwam’s Pekka Rechardt. It seems that the band were designed as Finland’s first punk band by manager Pietikäinen on a Malcolm McLaren mode. However, as none of the musicians had any clue what punk rock was suppose to sound like, their songs ended more as “theatrical rock inspired by The Tubes”.

  4. #54
    Member ashratom's Avatar
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    THANK YOU! This is awesome. I haven't received the CD yet (it hasn't hit our shores yet). But as soon as I do, I'll put the album up on my blog with my review and include your translation of the liner notes.

  5. #55
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    Quote Originally Posted by nosebone View Post
    As far as Finnish prog goes, Wigwam's Fairyport and Tasavallan's Lambertland are the brilliant ones.
    I generally share your opinions on many things but this isn't one of them. I have those albums you mention and am not impressed after a number of listenings. My personal top Finnish Prog albums are:
    First: Practically anything by Pekka Pohjola
    Second:
    Finnforest Lahto Matkalle
    Jupu Group Ahmoo!
    Finnforest Finnforest
    Jukka Tolonen, Summer Games
    Jukka Tolonen, The Hook
    Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?

  6. #56
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    As promised, I've posted the Nimbus - Obus album (I finally sourced a copy 2 weeks ago), with Kai's fantastic translation of the liner notes. Thank you again my friend!

    http://unencumberedmusicreviews.blog...4-finland.html

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    Nice review. I don't quite share your enthusiam about the album, but I can appreciate the sentiment.

    Heh, one of these days I should probably try to translate that lyric insert into English, just as a challenge. Rantala's RR liner notes are not that difficult to translate, because, unlike the lyrics, they actually make sense. With the Obus lyrics, the much abused cliché "pretentious" actually applies. That and their relentless frowning pessimism actually makes them rather funny.

  8. #58
    Member ashratom's Avatar
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    Well, if you do decide to translate them, I'll add it there as well!

  9. #59
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    So for the hell of it, here’s my English translation of all the song texts from the CD version of Obus. I’ve followed quite closely the format in the booklet, too close in some cases perhaps. I’ve checked the texts against the record, and the two versions seem to largely agree with each other. As in the booklet, the italicised lines are not sung. The exception is of course “Myrskyjen välillä” which I transcribed off the record. Therefore there is a greater chance that errors in performance or transcription may have garbled the original intent of the lyrics somewhat, but I think you’ll get the gist of it.

    Apart from rampant pessimism and weapons-grade Weltschmerz, the lyrics show a tendency towards neologisms and syntactic ambiguity for the “wow, that’s deep, man” effect (I would guess that Jukka Gustavson’s original Finnish texts would be the inspiration). I’ve had to simplify a few things and choose between interpretations at places where English and Finnish don’t really agree. Since the lyrics are largely free verse with few sound devices, I have stuck to straightforward semantic translation. Anyone interested in the rhythm or sound of the words is better off just listening to the recording in any case. However, just remember that accurate meaning has been the primary objective here, not the most idiomatic text.

    So if you don't feel bound by the Third Holy Principle of Progressive Rock Fandom ("We Don't Listen to this Stuff for Lyrics"), enjoy - or suffer if you're so inclined.

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    WHATEVER LEADS TO WHERE EVER

    A certain immortal whitebeard’s
    (who got to experience the prophecies, the testaments,
    the changes, the end, all that by eating just that
    brand of yoghurt) tale of future,
    pain, hopelessness (three useless things).
    A report that sped at twice the speed of light
    into the historical present
    and reached its destination in 1974.


    THE PROPHECY (February 9th 19XY)

    Things experienced and read,
    childhood memories.


    Who understands time?
    Do you, Amenophis? The clock hands and its imperishability?
    A leaflet on the street handed out 40 days
    to each depressed passer-by
    (and no one was left without).
    The witnesses are afraid of the dog.
    They keep the date to themselves.
    Better kept secret.

    Truly, there is a sense of a great farewell party in the air.
    Nature issues a serious warning.
    To each individual


    imagination are left
    the details and channels of chaos.
    The place is predestined.
    The point that promises the most,

    keeping

    hands behind the back

    fidgeting with mistakes and problems,
    with physical-mental mass murders.


    Even scientists cry to the best of their abilities,
    longing for the trees.
    Even computers lapse into pessimism.

    Frankly irreversible!
    I have watched, wandered, experienced
    (three tough things!).


    Outside-inside I feel, friend:
    I’d like to dig the starting holes with you
    and wait for the sanctions, hiding with our thoughts
    which we only whisper in fear of getting the boot,
    for tomorrow is:
    coercion
    fear
    odd number
    (three heavy things).

    I hope the prophecy won’t come true.

  11. #61
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    THE TESTAMENT (September 15th 2YXZ)

    The things that the master of the world and I
    realised too late.


    I think about
    what He promised in the elections before the chaos.
    What His country thought when it caused
    the era of three heavy things.
    Of the ebb tide
    that is seeping completely out of the leaking sea,
    its first drops already green with red poison.

    A new colour,
    for everything was very secret.


    How complacent everyone was
    about tomorrow!
    Promises of better things,
    but the testaments felt so useless,
    those that no one was going to read
    without the insights, the improvements
    which many already craved for yesterday.
    HELP, I need help, I can’t make it alone.
    I start imagining all sorts of things.
    I start going crazy.


    THE CHANGE (April 12th XZYX, X>2)

    Descriptions of a new state of being,
    of brainlessness,
    of lifeless matter,
    of the non-existent reason’s limitless possibilities
    in hindsight.

    It’s nearly time to depart.
    Questions occupying the mind.


    Will the world become infinite?
    Will space become the Void?
    Where the oscillators’ artistic figurines
    hover around me.
    With copper horns on my head, I sit on one of them
    and experience everything as green.
    Grass I can no longer remember.
    The subconscious stimulus is too weak.
    NO!
    Cosmic smogs have simply paralysed
    my ability to receive.
    My plastic skin does not feel the cold.
    A hand I can at least remember: a hand
    that silently pleaded for help and waited. A platinum hand!
    Thoughts of revolutions still occupy my mind.
    What do they matter now when I’m alone?
    What do carrots matter?
    What does overpopulation matter?
    There is room!
    What does love matter?


    EPILOGUE (November 11th 1974)

    How terrifyingly lucky!
    Some strange INVENTOR is whispering in my ear
    of the chance to salvation.
    I suppose I finally better start listening.


    Miraculously I’ve made it back to earth,
    to this year.
    Gyro Gearloose with his time machine rescued me
    from beyond the deeper than deep sleep.
    Brought me back from the frontiers of lunacy land,
    from a journey to eternal despair:
    a journey you too may end up on
    through brute forces, ambitions, pride
    or other hallucinations.

    Which include more things
    than anyone thinks.


    And your only redemption will be through humanity,
    with luck.

  12. #62
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    A PESSIMISTIC DIALOGUE

    It is the age of rust, of heavy earth.
    Where does the child’s cry come from?
    Far away is the verdant age.
    Are you aware of the present and its too
    deviant ideals?
    How could I release myself from behind the bars of today’s prison
    and among the subjects of clean nature,
    to circulate wisdom,
    to take in knowledge?

    I was born in the wrong era,
    to envy the stone age.

    I pity the five-year old.
    Will he get to live to the end of his book?
    How could I journey beyond the painless frontier?
    Taking everything with me,
    my friends,
    who can only be saved by the dreams of an optimist?
    Don’t be born again.
    Make no wishes for the future.
    Shit is already raining out of the mouths of the verbose.
    I’m afraid.

    Let us flee beyond the mountains,
    to find the roots of the brook!
    We shall forget the past:
    in any case, by thinking
    we cannot help.
    How could I fall asleep on the moss, in the shadow of the rock
    Without feeling that I have achieved serenity.
    Don’t answer.
    Never think back.


    THE LONELY SAILOR

    Has shut out
    himself.
    Has stepped into loneliness
    alone.
    Like Heyerdahl
    the only difference is
    he doesn’t search but runs away.

    Let’s get him away
    before he disappears!

    Let’s be together, show him the gate,
    the earth’s smell
    despite and because of that
    we can give him peace.
    When peace is needed.
    Joy when joyfulness is needed.
    Love when love is needed.
    Always.
    I don’t know, he says.
    We don’t know either.
    We say, but that doesn’t prevent
    Prevent anything.


    BETWEEN THE STORMS

    Winds, birds of bad weather, waves
    have ceased.
    The sky’s dark, cruel clouds
    have disappeared,
    making room for a new strange dawn,
    another silence.

    Dawn and all its sounds,
    echoes of chirps announce their gratitude,
    that fear has fled faraway,
    under the trees,
    to the great roots, cliffs.

    In the mirror of dew drops,
    reality forms an image
    of a smiling, calm stream.
    The outlines of a rocky shore
    accentuate this deep sleep
    with their straightness.

    And peace reigns over the creation.
    The lifeless, the living, nature
    are in harmony as long as there is
    a weak wind, light clouds,
    the aspen leaves are silent.

    Guided by instinct,
    the frightened bird of prey
    looks for shelter.
    It is the time to wait for the storm.
    Nature’s lifelessly savage forces
    gain control.
    It is the time for another kind of fear.

    The sky portends a new storm.
    Nearness of the grey cloud offers no safety.
    Ripples on the surface of the sea,
    rays, winds, broken streams by the shore.

  13. #63

  14. #64
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    Can't keep a good thread down... There was an extremely brief discussion of Haikara's lyrics in another thread not long ago. It got me thinking that some might appreciate English translations of the three Finnish-language songs on the album this thread was originally about. I've never rated these very high (actually, the less serious ones of Iso lintu seem more enjoyable), but since translations of the first album's lyrics have been long available, I thought I'd do these for completeness sake. So here are "Kun menet tarpeeksi kauas tulevaisuuteen, huomaat olevasi menneisyydessä", "Laulu surullisesta pilvestä" and "Geafar" in the Eenglishe ling-watch.


    WHEN YOU GO FAR ENOUGH INTO THE FUTURE,
    YOU'LL FIND YOURSELF IN THE PAST

    Yesterday’s songs fade into the past.
    The final chord is born to die.
    When can we travel into the future?
    Will human knowledge answer the question?

    The old times won’t fade away.
    I’ll grow attached to their surface, I’ll die once more.

    You can reach knowledge if you want to.
    Turn within, turn around again.


    THE SONG ABOUT A SAD CLOUD

    A sad cloud travels
    towards the morning’s shore.
    It wanders through the ages.
    One day, it finds happiness.

    Finds an innocent song
    with the grey cloud.
    Finds a fairytale among the people.
    It disappears into enchantment.

    I found an innocent song
    with the grey cloud.
    I found a fairytale among the people.
    I disappeared into enchantment.


    GEAFAR *

    Shadows travel in the cold of the night.
    The bloody group are on their way.
    They feel the power and might in their veins.
    The flame of revenge demands its sacrifice.

    Proudly toward death
    The men of a new cause roam.
    The song of justice rings in their hearts,
    Finding everyone guilty.

    The sound of a bullet cuts through the void.
    The men take up their final task.
    Sombrely rings the soulless bell.
    The moment of darkness has come.

    Man won't conquer his fear.
    There is a valley of pains in his soul.
    He rejects the world in his misery.
    Finds his peace in death.

    * According to the song's author Vesa Lattunen, the original title was "Musta syyskuu" (The black september), as the song explored some of the motivations behind acts like the attack against Israeli athletes in the Munich Olympics in 1972. The producer promptly vetoed the title.

  15. #65
    That's Mr. to you, Sir!! Trane's Avatar
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    Yup, I will print these lyric translations and minimiatiurise them as to fit them in my CDs (I've got the lyrics to their first album as well)

    Thanks for this



    (I've done this for Anglagard's debut Hybris and for Hoyry Kone's two albums some 10 or 15 years ago as well
    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  16. #66
    I got the Scapa Flow on vinyl just the other week, and it's beautiful both in package and sound. Arguably among my fave 10 from Finland.
    "Improvisation is not an excuse for musical laziness" - Fred Frith
    "[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM

  17. #67
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    Quote Originally Posted by Scrotum Scissor View Post
    I got the Scapa Flow on vinyl just the other week, and it's beautiful both in package and sound. Arguably among my fave 10 from Finland.
    Yes, Uuteen aikaan is one of my favourites too. Beautiful is the right word to sum up the album. A beautiful ending to one era of progressive rock music (well, that and Jukka Gustavson's Toden toistoa).

  18. #68
    I've been listening recently heavily to Haikara's music, and I love both the albums, but the debut in particular. Yksi maa - yksi kansa is such a winner, with the brass attack in the middle of the song. A very hard band to describe, since they seem to cover so much ground not only in terms of musical language, but mainly in terms of emotions and atmosphere: they're aggressive, and romantic, and completely zany at the same time.

    Was this released in 1972? What a unique band this is!

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