OLYMPIC GAMES

Tracey Emin and some of her Turner Prize cohorts have designed a selection of posters to promote the 2012 London Olympics. One or two of these posters are classically inspired but most seem to have little connection to the games and indeed might have carried titles such as 'Lazy Swirl of Blue', 'Pastel Gift Wrap' and 'BBC Test Card'. In contrast the artwork for 'Olympic Games', Finnish four-piece Siinai's 2011 debut album, honours the games with its iconic imagery of the five Olympic rings within a stylised podium, arguably more in keeping with the ancient Olympic ideal of 'excellence in art and literature' as opposed to the unfinished-looking pieces inspired by the London event.

The music also reflects the nature of the games and throughout the album Siinai weave together strands of Kraut and Post-Rock with a fine pop sensibility. The serene opening part of 'Anthem 1 & 2' captures the sense of excitement, anticipation and stored-up energies of the heaving mass of humanity gathering for the heroic rituals, before it suddenly breaks loose into anarchic Post-Punk life with enough power to shake the Olympic stadium to its very foundations.

Rebelliousness gives way to reverence on 'Anthem 3', a languid hymn to the Twelve Olympian gods that's shrouded in hypnotic choral effects. This is followed by 'Marathon' which crackles along rhythmically with chugging guitar and burbling electronics, but sounds more like a short sprint than Philippides' long distance runaround from Athens to Sparta on the eve of the victorious battle of Marathon. The album continues in this vein and basically follows an alternating pattern of slow and brisk tracks to either physic or physical oneself by.

As well as sports and arts, the modern games have other links to the ancient Olympics. Through the gathering of different peoples, and through their self-discipline and determination, the revival of the Olympic Games was intended to bring international peace and harmony, prestige and glory. However the games continue to be used as a political tool in the same way that the ancient Greek city-states used them to dominate rivals. 'Strength over wisdom' still holds true and the act of simply taking part in events is no longer the important issue; how many slimy paws were greased to ensure London was awarded the games?

As well as that question, consider some of the track-titles on this album. While thousands of bells will ring out in celebration on the first day of the 2012 London Olympics, 'Munich 1972' revives the paralysing horror of the (black) September massacre with a synthesized assault of gunfire and dissonant chaos. 'Olympic Fire' alludes to the Olympic flame that commemorates Prometheus' theft of fire and thus represents the fight for freedom, but the dark edginess of the track's mysterious siren-call synthesizers might also recall the torch relay ritual - the torch of hatred - which was exploited by Nazi propaganda as an emblem of Aryan supremacy. However 'Victory' restores the balance with something of the melody and feel of 'Chariots of Fire' before it erupts into a joyous celebration of the human spirit.

Perhaps the struggle is still greater than the victory after all.

Holding hands with the mighty gods of Mount Olympus

Perhaps not too surprisingly, this album revolves around the history of the Olympic Games. Going as far back as the Greek starting point where it once started as a human apotheoses to the deistic notion of body and mind coalesced - this ongoing tale is now told through the music of a young up and coming Finnish act. Body and mind - the merging of two worlds in one human being.

We get more than the openly sporty character of these events, as this record also relegates one of the saddest and darkest moments of modern day sport history; the atrocity in Munich 1972, where the entire Israeli team was assassinated by the terrorist group Black September. The actual track here simply called Munich 1972 is all instrumental - in fact the whole record is, which to me personally fits perfectly for a realistic, albeit artistic in scope, soundtrack that deals with this mighty recurring sports event. Our own human pedestal put there to make us feel closer to the ancient gods of Mount Olympus, even if we at times show ourselves from the most cruel and evil of sides.

What struck me first was the ingenious way the synthesizers here mirror the old Olympic fanfare I grew up with. I mean this is just uncanny! I remember being a little kid - absolutely loving the distinctive feel of getting ready for this event - hearing this tiny musical ode. Yeah well tiny is perhaps the wrong wording here, because although it only lasted a few moments, it was grand and pompous like a regular royal fanfare. On Olympic Games - the synths really do relegate this trumpeteering sound - adding to the overall picture that sense of occasion - an impending cataclysmic event. They are played with a slow and economic touch, which transform and contort them into these long drawn out wails that after a while interweave with the surrounding instruments. Just this simple aspect of the album sweeps you off your feet and throws you into the Olympic feel with thousands of flickering images of Ski-jumpers, marathon runners, javelin throwers, pole vaulters and swimmers who look like old Greek statues in white - all of them amalgamating to one huge expressionistic Olympian montage.

I heard this album just now cycling my way around the countryside - through the surrounding forest where everything now reeks of natural garlic. It's in season, and whilst the woods are a mayhem of floral explosions and multifaceted greens and whites and yellows - that omnipresent smell of onion in my nose somehow perfectly suited the music. The grandiose and over the top feel I had flowing into my ears - was in a harmonious balance with the sumptuous nature around me, but still I was unable to shake off the overhanging shadow of that devastating day once so long ago in Munich - and that, in some fantastically inexplicable way, was the sharp and harsh smell of those onions in the air. A truly strange and esoteric experience all in all, and one that I struggle to find the appropriate words for.

To get back on the ground and comment on the actual sound of this recording, I think it is fair to call it a riveting hybrid of post-rock and Krautrock. The plodding pace of the guitars together with the almost shamanistic feel of the drums draws a fair few parallels with several of the post-rock biggies, but still the album is served up with those futuristic, buzzing and trumpeteering synthesizers, that it becomes something like a meeting between Mogwai and electronic modern day Kraut(dance)rock wizards F*ck Buttons. Psychedelic, freely flowing panoramic soundscapes - with an overriding urge to erupt into giant almost symphonic musical sculptures.

I've read a couple of reviews of this album online - all featured in relatively big music magazines, and they damn near all give it a mediocre to poor rating, talking about how slow, uneventful and bland they find the music. Admittedly, these guys usually review things like My Chemical Romance and Maroon 5, which should be evidential about the fact, that they don't know the first thing about music like this. My guess is, that they saw an album which concerns itself about the impending Olympic Games in London and then thought to themselves: Bugger me if that doesn't sound like a flash and cool idea!!!! And while I've had a few laughs on their account, I shudder to think that most of the mainstream music journalists have completely lost the ability to submerse themselves in records that venture beyond the normal boundaries of contemporary music. What a shame!

Can we call them Finnish SIINEU? The answer is "Nein", I consider. Yes, exactly the word like "A revival of Krautrock" or "Novel Krautrock missionaries" can be quite appropriate for SIINAI, who have launched their interpretation of Krautrock in their debut album "Olympic Games". But at the same time, let me emphasize they've not played the copy of Krautrock pioneers but their delightful soundgarden in the vein of Krautrock.

According to their blog and photo gallery, looks like they'd got inspired much upon recording / producing their debut album by lots of impressive, courageous medalists. Their enthusiastic, profound riffs remind us the pleasure for sports with peace and friendship. Anyway their soundscape, as above mentioned, leans toward the pioneers of Krautrock especially like Neu! or Popol Vuh, whereas the phrases have not only sticky, dry-fruity, hypnotic flavour but also promising, powerful, and hearty atmosphere deeply in their core of sound, amazingly. Namely, not simply Krautrock-ish as it is said, but pretty hopeful about the future as their original strategy.

All tracks were created with simple riffs seasoned with deep echoes and earthy depth, whilst upon the centre of their intention should be enthusiasm and pleasure for future obviously. Via The Olympics and the sports there, they give us the feeling of not only the players but also the audience / fans, along with their original Krautrock named SIINAI. What can you see beyond the other side of the mountain with five rings? Guess it be a flood of comfort and hope (for Olympic games and their future both!).

The Olympic Games as your conceptual music composition assignment. Bring your best.

Many may be the reasons why Siinai chose this athletic concept, but let me skip on to where it matters, the music.

An 8 track release with all kind of epic cliches, new fresh ideas, some extraordinary sections and their according highlights.

SIINAI's "Olympic Games", 2011, is somewhat quiet diverse and not that tupsy-turvy psychedelic (nevertheless quiet experimental), as to fit the Krautrock tagging solely. There are close connections to the 70's and 80's synth/rock/pop era, as to more Progressive Electronic influences in the Berlin electronic music school's vein, as to the Post Rock/Math Rock's beat and guitar works.

But beyond these possible labelings, Siinai possesses a very personal focus and even from the start, (this their first release according to this page), a quiet defined musical language, which adds up a lot in this world of "sound-alikes".

What works out, works out perfectly, far from the Olympic's symbolism alone, which by the way, everyone who has witnessed this event has his own treasurable, unmemorable or indifferent thoughts about, therefore anyone can relate to the music without the Olympic Games's previous knowledge.

Some bronze, a bit more of silver and some real gold.

***3.5 PA stars.