• eleanoora rosenholm Hyvaile Minua Pimea Tahti (CD, £6.75)

    label: Fonal Records

    A project begun by Noora Tommila, Pasi Salmi and Mika Rättö (better known as a core member of experimental psychedelic rock oufit Circle), Eleanoora Rosenholm is ostensibly a persona created by the band, which narrates the dramatic and disturbed odyssey of a suburban housewife. The group, which has now evolved to a seven piece band (with Mika typically fulfilling the role of writer and overseer), comprises the most exquisite music makers from the Finnish harbour town of Pori. The third instalment is an even gloomier prospect (if possible) than before: this time the protagonist, housewife serial killer Eleanoora, escapes to the heart and the city of a Dark Star. Although musically in a similar vein to their previous albums, the sound of HMPT is even more dramatic, expansive and nuanced. Musically taking its cues from film soundtracks and disco, laced with with echoes of Scandinavian and electronic pop, this apparent juxtaposition with the album's subject matter frames a dislocated voice in everyday reality. Trumpets and clarinet lend an epic maturity to the modern atmosphere. The result is a landmark of a down-to-earth-futurism, A Space Odyssey in Pori - something unexplainable and that thus has to be experienced by oneself. These colourful stories are the brainchild of Mika Rättö, one of the most creative forces in Finnish contemporary rock scene, perhaps more familiar from the acts Circle, Rättö ja Lehtisalo and Kuusumun Profeetta. Rättö isn't afraid to approach great themes from everyday level, for example through building permits. The role of Eleanoora, vocalist Noora Tommila, is of sensitive interpreter, relaying a vast emotional range from quiet fragility to vociferous preaching. The album is composed by Rättö and analogue synth wizard Pasi Salmi (Magyar Posse). Previously mainly masterminding in the background, the recording sessions inspired Rättö not only to grab the drumsticks but also to sing with his distinctive falsetto. Apart from these fellows, who else could turn Gregorian chant influences naturally to a potential modern club hit like Sata Ave Maria?


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