Producer: Jori Sjöroos
57 weeks in the Finnish album chart
Oo Siellä jossain mun
Pikkuveli (which can be found on Kumivirsi-edition. Forced to mention, because the original performer Noitalinna Huraa! is coming from my native region.)
PMMP’s second album featured quite surprising material after their first album.
Pink cover is the sign of girls stuff, but still there is something like Bitch Alert’s (Finnish punk band) primitiviness and rage. The cover art picturing album’s music well. Kovemmat Kädet (tougher hands) also describes well the material and theme of album. They grap a little bit harder. But the music has not be shaken so much, but the grip is firm and tight.
The album’s first single, Päiväkoti (Day-care center) showed that this album is floating on a much deeper sea. Kindergarten and children hit the young mother’s idea of the world. Nowadays I am father myself, so I somehow get this idea too. How the kids stand in the yard. The epic strings at the end of song could fit in almost any style of music. Brilliant.
The songs have serious, even distressing lyrics. But you can also find happy rallies for little girls. There’s a signs of the first symptoms of midlife crisis. Of course it’s easy to say so now, when I’ve already passed that part of life. If we split this album to two parts: the soft and the heavy, there’s hellishly good heavy punk-album and then there’s a nice little pop-album for teenagers.
“In fact, only it does matter, what and how to bring a simple melody clothed in words.“
Vocal melodies are very simple, even monotonous. There’s nothing wrong for the lover of heavier music. Often the vocal melodies following a guitar riff, which tells the harsh language of how green the band was then. In fact, only it does matter, what and how to bring a simple melody clothed in words. Heavy sections of the vocal melodies are better.
You can hear brave choices of instruments and sounds in many places. Some electric drum stuff start to be a bit “out”, and soft synths have significantly improved in ten years. But the idea of production is excellent. Sjöroos diverse background is reflected in the compositions. Maria Magdalena is a brilliant example for sound combinations that he uses. That kind of soup needs a wide vision of the instruments in available. Another example is the Oo Siellä Jossain Mun’s bass sound. Softsynth bass with underwater effect, I would guess. Sounds so last century, but not enough to ruin the album.
“The album is a little illogigal, just a young woman’s way.“
The album is a little illogigal, just a young woman’s way. Over-analyze everything, but not to find a way to reach the goal. It does not harm this time, but cause little suffering. However, if you give a little time thinking about what it would sound like live, you’ll realize that this is the most excellent form in its entirety. Fast tempo, heavy and soft parts, choruses you can sing along, joy and sorrow and a lot of playing for the band.
Could this work in English? Maybe not. The lyrics is characterized strongly in Finnish culture. I think in another language the content leaves a little bit empty.
This was on the top when I met my current wife, so the sound takes me back in time. This year the album will be ten years old. Yes, I’m so damn old. Finland’s best records this still is. Probably this works best for the start of a party. However, I do something like that so rarely nowadays, that this may be just a hunch.
THE BEST MOMENTS
Mummola – Rage and catchy chorus.
Matoja – On the footsteps of Apulanta’s (Finnish punk band) best tracks. Matoja worked as one of the highlights in their live shows in past years.
Maria Magdalena – Maria Magdalena is a great tribute to the Finnish band called Mana Mana. It is still one of the best PMMP songs. In the last gigs a different arrangement was so rugged that even Eino Leino stay in second place. Someone has listened Black Sabbath, when composed this, I suppose.
NOT SO BRILLIANT
Auta Mua – Something to sing for Mira. Sounds like 4R (Finnish pop band trying to sound like international).