EKKEDIEN TANSSI

After the tasty debut (one of my favourite Finnish prog albums) Tabula Rasa did only this album which is clearly weaker. In some songs it even sounds like completely other, mediocre soft-rock band with nothing of the Camel-type beauty or the sensitive mystic feel that you heard in 'Gryph' and other highlights of the debut. Not much of any 'progness' either. The flutist is gone but the uninspired feel is bigger than that alone would suggest. Lyrics are mostly flat, for example 'Omantunnon rukous' (= Prayer of Conscience) could be done by an untalented gospel pop group. And some instrumentals go nowhere.

It's been many years when I listened to this completely, so I may remember it as worse than it actually is, but only for two songs I can now give some praise. 'Aamukasteen laiva' (= Ship of Morning Dew) sounds as fresh as the poetic title. It's the only track where the arrangement is innovative and delighful, and also the minimalistic lyrics - only few lines repeated and varied a little - work well in it. And 'Rakastaa' (= To Love) is a melancholic ballad, nothing special but pleasant. Probably the whole album could serve as sufficient low-key pop for background, but no proggers even in Finland need to know it. A pity...

I was a bit shocked by the low ratings from other reviewers, in my opinion this album is a fine progrock effort. It sounds more symphonic, due to the wider range of keyboards. The titletrack features more refined and flowing guitarwork, only the song "Kehto" delivers wah- wah drenched guitar play. I was delighted by the organ - and guitar duets like in "Uskollinen" and "Omantunnon rukuos". On this CD the hints are more from Camel, this is most obvious on the final composition "Saastu mun paa" featuring a wonderful and compelling guitar solo. By the way, I forget to mention that Jarno Sinisalo plays not only piano but also Urut, String-kone and Syntetisaattori ... , say no more!

This album is in my opinion a quite poor and uninspired sequel to the mediocre self-titled debut of this late 1970's Finnish rock band. Their first record can be justly be called as "prog", as it took it influences from early 1970's British prog groups, but this stuff is more straightforward, powerless and grey pop rock. The religious-critical and metaphorical lyrics of Mikko Alatalo have here been changed as their antithesis; Simpleminded and noncritical gospel lyrics. Also the flute player has been lost so the sound textures are here duller to listen. "Aamukasteen laiva" ("Ship of the morning dew" or something) stands as a singular insight to the values of beautifulness on this album for me. I wouldn't recommend this album except for those who are really interested of late 1970's Finnish music or anything even slightly prog related.

First, i'm totaly agree with erik neuteboom who said that this album is a fine prog effort, and second this is a beautiful soft rock with good keys and guitars. The first track (i will not mention the titles, because are hard to write), the album's name is a great opener with smooth guitarand keys. To me this album really sound symphonic, and is not bad, maybe a little to mellow. Sometimes sounds like Kaipa, but more vague in contrast with what was made by prog bands in mid '70. 3 stars, still enjoyble to me, if for you, listen and convince yourself that is not so bad album after all.

Of course, the music from these guys is not very complex which means that you shouldn't expect intricate and long pieces of music.

But this work is full of melody, beautiful guitar and sounds very much like the early "Camel" (mainly "Snow Goose" and "Moonmadness"). Some symphonic jazz tints complete the picture during the excellent opener (and probably the best song of the whole) but not only ("Uskollinen").

I miss the fine fluting of their debut though, and the vocal parts are less charming than what they used to be (to say the least). Some might say that this work is at times borderline plagiarism and could almost be considered as a "Camel" one if you would except the vocals (in their native language).

Do take this album for what it is: a romantic and melodic work of symphonic prog with some folk attributes ("Aamukasteen Laiva" or "Rakastaa"). Sit down, relax and enjoy. "Ekkedien Tanssi" is not as good as their debut: some songs towards the end are rather flat: "Kehto", "Babyla Rasa" but the guitar part in the good closing number ("Säästä Mun Pää") is splendid and full of passion.

Both bonus tracks are only valid thanks to the instrumental sections. Three stars.

Second (and last) album in as many years for TR, but the line-up had changed a fair bit as the flutist got replaced by a keyboardist and the drummer stool saw a new owner. Strangely enough, the usually very-trustworthy Asbjornssen shoots at this album, describing it as surprisingly uninspired and sounding more like UK prog. I can only disagree, even if the album's overall energy level doesn't increase, but the typical Italian-prog feel is still quite present. As for the inspiration, everything is relative, neither TR albums being particularly original or groundbreaking (euphemism of the day of reviewing).

Once again, the lion's share of the songwriting is left to guitarist Silvennoinen, except Glass Bead Game (obviously named after Hesse's book) where newcomer KBist Sinisalo gets a co-credit, though it does make much a noticeable sonic difference. Even Gustavsson's (Wigwam) production and backing vocals don't make much a sonic difference between Ekkedien and the band's debut album. Actually, there is one track that seems to stick out a bit from the TR mass, the A-side?closing Omantunon Rukous (or sumthing of that ilk), because the dramatics suddenly peak to the country's highest hill; but in all honesty, you won't get much jollies, unless being particularly non-demanding.

Btw, at the time of reviewing, I was only able to get my hands upon a Japanese label pressing of both of TR album, but I can't imagine that Love Records will not reissue these two albums in the not-to- distant future. The album's artwork is certainly a big improvement on their debut(s very bland (and very blank) artwork, but its fantasy-cum-sci-fi nears the ridiculous, as it is a total prog cliché, and not even a good one. Soooooooo, as far as I can hear, I don't find this second album inferior in any way to the debut; the additional KB compensating for the loss of the flute.