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Alamaailman Vasarat - Vasaraasia CD (album) cover

VASARAASIA

Alamaailman Vasarat

 

RIO/Avant-Prog

3.21 | 45 ratings

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Cesar Inca
Special Collaborator
Honorary Collaborator
4 stars Just like a fellow Prog Collaborator so accurately stated before me, Alamaailman Vasarat's music is heavily rooted in the Eastern European gypsy folk, not unlike their more rock-oriented precursors Höyry-Kone: a fact undisputedly evidenced from the opening track of their debut "Vasaraasia". In fact, the typical exotic drive from gypsy folk is magically enriched by a sense of genius folly which seems to arise not only from the influence of HK, but also Samla Mammas Manna, Slapp Happy, and in general, the most satirical side of RIO. There is also an aggressive facet in AV's music, which is provided mainly by the two cellists. Here and there you may hear what seems to be a series of quasi-punk fuzz guitar riffs, but what is really going on is that the cellists are playing powerful chord progressions on their instruments, previously supplied with bizarre effect tools. The opening track 'Mamelukki & Musta Leski' is a wonderful source of motivation: its beautiful melodic lines and the contagious electricity emanated by the performers, all at once, make it a recommended listen for those minutes after you've just awakened, and still haven't made up your mind to get up our of your comfortable bed. Track 2 keeps the good vibrations working, with a slightly lesser degree of intensity. Even though there is a large amount of fast numbers in "Vasaraasia", there are others that don't feel so uplifting: in fact, there's also room for some languid, dark pieces, at times bordering on the somber - 'Jano'/'Tankkaustunti' and 'Hakumie' are IMHO the most accomplished dark pieces. All things considered, though, the listener is likely to find himself in awe of the frontal candor exhibited in most parts of the album, especially the interplays between sax and trombone and the well articulated complementation of the pump organ chords with the rhythm section. There's tons of electrifying energy condensed here, and yet there's more electronic stuff in the effects than in the instrumental arsenal itself. Well, eventually the circus has to leave town to take its tricks and gags somewhere else, but the circus caravan won't leave quietly: the ultra-fast 'Delhin Yot' seems designed to cause the audience's farewell applauses, while the finale serves as a musical background for the technicians dismantling the stage and quickly picking up all packages into the trucks. Overall mark: 3 ½ - 4 stars.
Cesar Inca | 4/5 |

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