Paara
Yön olevainen puoli

Finland, what can be said about this place that is both dark and luminous at the same time? In the realm of extreme sounds, I don't even want to list the legendary groups that originate from there; it would be superfluous. Those who frequent these sounds already know everything there is to know.
To date, I believe I've listened to this album at least ten times, and every single time I wonder how Black Metal can be regarded as anything other than an authentic form of complete and all-encompassing Art. The fact that they sing in their native language is perfect, the way they alternate fast storms with melodic folk-like parts, just as only they can, is equally perfect, the way they manage decidedly long pieces without any faltering is once again perfect, just like the heavenly voice of the Scandinavian muse Natalie Koskinen, perfect. I apologize for the repetitions, but this is what comes to mind without overthinking it. The themes covered include stories related to Finnish folklore: ghosts, spectral apparitions, northern witches, all wrapped in the dense mystery reminiscent of the early '90s of this troubled genre. There is very little information available about this project, almost no reviews, and few copies distributed, many of which are on cassette. The third of the four tracks on this work, "Joutomaa," for example, is a beautiful fresco of melody, anguish, and atmosphere, it starts with a croaky voice of a possessed bard, then darkens and changes tone, growing slowly, the music follows the vocal tone and approaches like a summer storm that then fades leaving the harmony to the elements once again. The masterpiece, however, in my opinion, is the final track "Aikaan Hautautunut," it must be listened to; it doesn't deserve to be tainted by the written word, and here the famous maxim by Frank Zappa comes to mind, which says: "talking about music is like dancing about architecture," and yes, for some compositions it fits.
I conclude by saying that Finland always and forever delivers an unparalleled sui generis Black Metal in style and aesthetics. I also recall here their compatriots Sarastus, another pleasant surprise, as I would like to revisit the music typical of Karelia, legendary figures like Timo Lipitsä. If you get the chance or have the desire, seek out the mysterious Karelian melodies, and you will uncover a parallel universe teeming with dark and luminous creatures, sweet female voices, and shamanic invocations. These sounds have long been studied for the supposed medianic power of the singers from those remote areas and, according to the writer, certainly influence contemporary expression that today manifests in projects like this one by Paara. Näkemiin!