Giona

Funny how, wanting to talk about foreign languages, I can no longer even match an Italian article with its corresponding phrase... I take this opportunity to greet and thank once again the readers who found the time to leave a comment on this page. Until the next episode.

Thank you very much, Lazy and Alex. The translations of the titles done with Google tools, as amusing as they are, are quite rough, so I advise anyone wanting to read the texts to head over to the official site, where they are written in a much more comprehensible English: VIIMA :: LYRICS

Yes, of course, but I’ve noticed how the so-called "element of curiosity" quickly fades away with the help of videos. Probably, even if there weren't any, those interested would still turn to YouTube to get an idea, but my backward mentality still belongs to that "old guard" that, when it wants to hear something, goes searching for the album through the most winding paths of the web.

Thank you ProgRock and Fedezan. We will take another look at the recent Finnish scene a couple more times, although I must admit that it will be Sweden taking the lion's share in this series, not due to a lack of interesting realities in Finland or Norway, but simply because of thematic necessities, which find in Swedish records the right affinities to coherently develop the narrative I have set out to follow. As for the voice, I can suggest listening to the following "Kahden Kuun Sirpit," in which the flutist and saxophonist Hannu Hiltula sings.

Imagine, Jargon, I was sure that if you had been around you wouldn't have hesitated to express your opinion on the Viima. Throughout this cycle, I will try, as much as possible, to avoid using "4" (and, despite that, it will be the most common rating), as I believe that in a system limited from "1" to "5", that number can be applied to almost any positive situation, to the point of becoming ambiguous, if not even misleading. I've realized that I could practically assign "4" to every record I reviewed without it seeming too out of place. For this reason, I intend to "stretch" the role of "3" and "5", at least regarding the twelve writings in question, so that the act of indicating a rating is not completely stripped of its original meaning.

Great writing. It's a shame that video reviews like this one, for all their beauty, tend to make listening so convenient and immediate that no one takes the time to listen to the entire album, which, in fact, remains without a rating.

I would be lying if I said I didn’t expect such an arid desert to stretch across this space dedicated to readers, especially considering the unconventional nature of the proposal and the interest that a Finnish folk record might spark in the casual passerby. I would like to sincerely thank the editors for appreciating the writing, The Decline for commenting on it, and his grandfather for making it possible, as a model, to create such a captivating illustration.

Wonderful gallery of medieval paintings to contemplate and embrace in their messages so human and sincere, perhaps while listening in the background to the homonymous album by Gryphon from 1973.

During the listening of the collection, one perceives a certain stylistic detachment between the composure of the ethnic jazz with vocal arrangements of the debut (tracks 7-12) and the adventurous and shrewd character of "Looking at the Earth" (1-6). From the writing, it may not be so clear what is actually being reviewed, as it is not specified anywhere that the CD in question consists of the first two albums of the group and is therefore an irreplaceable testimony of the initial period (1980-1984) of its activity. The following chapter (1985-1990) will be immortalized on "45 Degrees Centigrade in a Shadow," released, like this double album, in 1999.

The grand prologue of a career that later turned out to be anonymous and utterly negligible.