VIIMA

One of Finland's most revered prog folk bands of the 21st century, VIIMA ( translates as 'Wind" ) formed at the turn of the millennium in 1999 in the western city of Turku but it would require seven more years for the band to record and release its debut release "Ajatuksia Maailman Laidalta" ("Thoughts From Around The World") which was released in 2006. It would take three more years for the sophomore followup of "Kahden Kuun Sirpit" ("Two Moon Sickles") in 2009 and then the band seemed to drop off the face of the world as if it ventured too close to the Bermuda Triangle and sucked into another dimension. Well perhaps that was what really happened but whatever the case, many artists are returning in 2024 after lengthy absences and so too as VIIMA with its long awaited third released VÄISTYY MIELEN YÖ ("The Night Of The Mind Recedes.")

Amazingly the band mostly retains the cast of musicians that were featured on the 2009 album. Once again VIIMA features Hannu Hiltula (vocals, soprano saxophone, flute), Mikko Uusi-Oukari (guitar, flute, keyboards), Mikko Väärälä (drums) and Aapo Honkanen (bass) with only newbie lead vocalist / keyboardist Risto Pahlama replacing Kiimo Lähteenmäki. Time may have passed but the band has lost none of its magical mojo as it continues its unique concoction of symphonic prog, folk rock and traditional Finnish folk music. VÄISTYY MIELEN YÖ features five tracks of varying lengths with a total playing time of 44 1/2 minutes. The band while inspired by Finnish legends such as Wigwam, Tasavallan Presidentin and Haikara also showcases influences from many other non-Finnish artists and delivers a dynamic array of diverse tracks.

The opening "Tyttö Trapetsilla" ("Girl On Trapeze") is the perfect track to announce the band's triumphant return some 15 years later with an energetic folk rock number with an upbeat tempo and a clear nod to classic Jethro Tull with Hiltula's sizzling flautist skills. The track crafts an instant lovability and then once VIIMA sucks you into its vortex of scrumptious Finnish prog rock (all lyrics are in the Finnish language), unleashes the monstrous prog behemoth "Äiti Maan Lapset" ("Children Of Mother Earth") which at nearly 19 minutes is almost half of the playing time on the album. The tracks alternates with feisty guitar driven rock sequences to softer folk laden passages and mostly remains on a sensual seductive mode throughout its run. The use of soft Canterbury jazz keyboard runs evokes a bit of the warmth of classic 70s sound but keeps everything grounded in the world of modern production techniques.

The tracks just keep getting better really. "Pitkät Jäähyväiset" ("A Long Farewell") offers not only the usual folk rock approach but also rocks those classic Canterbury keys and provides one of the most memorable keyboard solos of the entire year! Likewise it must be mentioned that this music is made all the better by newbie lead vocalist Risto Pahlama's excellent vocal style and Finnish language lyrics. The Finnish language is utterly unique in how it sounds and makes an excellent base for musical lyrical expression. Who cares if i don't understand it! I don't care about most lyrics anyway! "Perhonen" ("Butterfly") starts as the mellowest track on board but picks up steam with strong melodic developments, a beefy bass groove and a nice serieprogressive workouts. "Vuoren Rauha" ("Peace Of The Mountain") offers some spoken word poetry and the band's namesake, some wind (VIIMA). Beautiful piano lines and seductive grooves allow the track to slowly ratchet down the beautiful procession of folky prog rock. The album ends with gusts and zephyrs from the heavens above.

VIIMA is one of the better modern prog folk rock bands in the 21st century. This band has perfectly adapted the melodic warmth and stylistic immediacy of the classic bands of the 70s with the modern day world of crystal clear production and atmospheric accompaniments. While many bands attempt to make a comeback only to sound washed up and devoid of ideas, VIIMA seems primed and ready for round two of its so far less than fruitful career. Of course 15 years is a long time to craft an album but apparently this band was using its time wisely to manifest the golden gem that this new release presents right down to every last detail. What i love most about VIIMA's new sound is how well Pahlama's vocals fit in with the musical deliveries. Many prog bands consider vocalists a mere afterthought which often ruins the experience. This band has considered how every member interacts and composed accordingly. One of my favorite albums of the year. Erinomainen!

VIIMA the wind, that's it! Yes, I'm diving into it because it's labeled regressive rock, so my aversion for this common genre without creation just needs to be refined and who better than VIIMA which is emerging from its lethargy after 15 years. TENHI you see, VIIMA is in theory less dark.

1. Tyttö Trapetsilla begins with a typical melodic folk prog with the local voice, which leans towards the first Tenhi, a tune which becomes symphonic over time, all on a trapeze story; the guitar solo smacks of the 70's with a heavy hint that will give you something to worry about. 2. Äiti Maan Lapset for a long suite, almost 20 minutes, which takes you to the southern Scandinavian lands; what more can I say? Regressive Canterbury, yes but evolving Canterbury with heavy breaks which reinforce the apocalypse texts cited; Proud fundamentalists will love feeling lulled into this musical landscape of yesteryear with distinctive sounds; otherwise you will need an attentive ear to eat this piece. 3. Pitkät Jäähyväiset starts again with the evocation of a desperate and hopeless world; the flute bringing a glimmer of light; the Mellotron even more; the hard guitar denotes and animates the tune, changing from a desperately melancholy JORDJO from start to finish; well JORDJO won't blame me I'm talking about them; the vocal is an integral part of the tune, a plus ultimately; the air softens with the bewitching flute, which has been fashionable for some time in progressive groups. 4. Perhonen for the poetry piece, an electric piano that flows like water in a stream; the rise with the orchestration of vintage prog stands out from TENHI who chose to evolve towards dark-heavy prog post, with sparkling colors of deep black. VIIMA offers a gentle folkloric and progressively heavy alternation with an angry guitar; a vintage prog of today where you don't actually get bored; the wind comes and 5. Vuoren Rauha, peace of the mountain dixit; Risto's voice melts the listener on a solemn organ, a melancholy ballad with the warmer organ, accompanied by clear drums bringing a typical slow, one of those that makes you want to hold your girlfriend in your arms for a long time; the wind returns, it's time to go home.

Classic medieval prog folk rock with 70s progressive rock, ending up sounding modern with heavy instrumental breaks and very beautiful vocals from their native language for a today's sound; yes vintage like that I ask for more every day.

It's a real delight to witness one of my favourite Finnish prog bands to return from their long break as a recording unit. This new album has slowly been under work ever since the release of their second album Kahden kuun sirpit (2009), and some changes in the line-up have taken place again (by the way, the debut Ajatuksia maailman laidalta, 2006, had a female vocalist unlike either of the followers). The former lead vocalist Hannu Hiltula has taken a step back in the band activity but he's participating here as a flautist, backing vocalist, additional keryboardist and even as a composer of one track. The former keyboardist Kimmo Lähteenmäki is also participating on this album. The new lead vocalist Risto Pahlama is the band's new keyboardist as well. His suitably commonplace vocals fit nicely to the music that has a sincere 70's feel. Comparisons can be made to classic Finnish- language prog acts Tabula Rasa and Scapa Flow (whose biggest fan the guitarist Mikko Uusi-Oukari has said to be), but Viima has absorbed the 70's influences to forge their own tradition-friendly but nevertheless individual voice.

Each of the five pieces is a winner, especially for a listener who enjoys the "old-fashioned" pastoral delicacy. The fairly similar approach can also be heard in the softer end of the RPI spectre, bands such as Errata Corrige or Eris Pluvia. The opener 'Tyttö trapetsilla' (= Girl on a trapeze) is a tight, melodic song in which the very delicious flute riff plays a significant role. Drummer Mikko Väärälä's composition, the nearly 19-minute epic 'Äiti Maan lapset' (= Children of Mother Earth) is becoming one of my all-time favourite magnum opuses in Finnish prog. The dynamic and yet delicate-sounding, lyrically thoughful piece is meandering elegantly from start to finish, avoiding the obvious risk of sounding patchy. At times I thought of FRUUPP's 'Gormenghast' for the soundscape. The layered keyboards sound lovely, and also the drumming adds dynamics. An amazing masterpiece!

Hiltula's composition 'Perhonen' (= Butterfly) starts very serenely in its instrumental melancholy, before shifting into the more powerful section featuring vocals. The beautiful lyrics of Petri Hyytiä contain the title of the album, meaning "passes the night of mind". The final piece 'Vuoren rauha' (= Peace of the mountain) is composed by Mikko Uusi-Oukari with lyrics of Petri Hyytiä -- as well as tracks 1 and 3 -- and is the most emotional of his three songs here. The lyrics are sung tenderly, giving way to the instrumental tail of the piece. The melodies are as heartfelt as the pastoral lyrics.

I guarantee I'm not giving this album a full rating in a carefree manner. It really resonates with my inner spirit and I love it more with each listening. If you're into delicate and melodic retro-oriented prog (NB! Non-Finnish speakers can read the English translations in the band's homepage viima.org), you'll surely find a lot to enjoy. Thank you, guys!

'FROM START TO FINNISH : PART FOUR'

I was very pleased with Finnish progrock band their first album entitled Ajatuksia Maailman Laidalta, their blend of early Renaissance and mid-Genesis delighted me so I was very curious to this second effort.

Well, on Kahden Kuun Sirpit the sound is a bit different, due to the changed line-up, only the keyboard player and guitarist-flute player remain as original members. Unfortunately the female singer left, I miss her wonderful voice although the Finnish vocals on this album sound OK. The musical direction has moved towards a more Seventies Camel and Focus inspired sound. Especially on Autio Pelto and Sukellus (strong saxophone sound): melodic with fluent shifting moods, flowing and powerful guitar leads, pleasant flute work and warm vintage keyboards (Hammond, Minimoog and Mellotron). In Unohtunut we can enjoy a fine balance between mellow and bombastic parts, with delicate work on flute and Mellotron and fiery electric guitar.

My highlight is the epic final composition Kahden Kuun Sirpit: mainly a bit laidback climate but at the right moments compelling and bombastic featuring a varied instrumentation, from jazzy Fender Rhodes electric piano and the distinctive lap steel guitar and Hammond organ sound to sensitive electric guitar and majestic Mellotron eruptions.

I prefer Viima their first album but this second CD also delivers very pleasant music if you appreciate Camel, Focus and bands like Rousseau.

My rating: 3,5 star.

Although receive in PA a slightly better rate than their previous album "AJATUKSIA MAAILMAN LAIDALTA", I think which "Kahden Kuun Sirpit' , stay quite faraway from the excellence demonstrated in the first album ! In my opinion this album shows an approximation of symphonic prog in detriment to prog folk style, so that this approach "turns pale" the features that call me atention in their first album (Review #1579897 Posted Saturday, June 18, 2016 ) "the use of strong electric guitar melodies and some synthesizers", besides this the change of vocals don't be pleasurable to me : minus due the change ( female to male) and more for Hannu Hiltula's vocal timbre. So, this fact make this album turns ONLY A GOOD symphonic-prog album, without greater attractions !!! My rate is 3 stars !!!

4,5 stars, really !!! AJATUKSIA MAAILMAN LAIDALTA, excellent work from this Finnish band VIIMA. and without trace of doubt one of the best prog folk albums from early 80's. Their sound is a little different of majority of bands of the style, because includes in their arrangements some unusual features as for instance, the use of strong electric guitar melodies and some synthesizers. Unavoidably comes comparations with bands of the style like RENAISSANCE ( due to female vocals and some acoustic piano parts ) , Jethro Tull ( in the electric guitar riffs and some rhythm sections ) and CAMEL ! I simply cannot detach any track, because the album besides be full of very original are very close to perfection ! My rate is 4 stars !!! With a a great dose of admiration !!!

On `Kahden Kuun Sirpit' the band Viima offers a wonderful collection of expertly played progressive music that is mostly symphonic prog based, but with many classical, folk and occasional slight jazz elements too. At no stage does the band ever sound derivative or clichéd, this album has its own identity and truly stands out. Sometimes brief moments remind a little bit of Camel or Genesis, but the band has more than their share of original ideas to bring to the listener.

This album really is the perfect prog package - wonderful playing, exciting arrangements, great musical variety, beautiful cover. I bought the vinyl edition a few years ago, and the front artwork is fascinating and very striking. Well worth trying to track down on this format, though I'm not sure of its availability anymore.

Viima's singer Hannu Hiltula occasionally sounds a little flat and monotone, but after a few listens his vocals become very interesting, to the point where I think they're among some of the most distinctive and unique that I've heard in my prog collection! While they are a little inconsistent, they do make the band sound quite different, and there are times when he performs extremely well, very grand and emotional. I should also add that his soprano sax and flute playing is first rate throughout too.

Guitarist Mikko Uusi-Oukari steals much of the album. His electric guitar tone sounds so much like David Gilmour's from his early 70's, pre `Dark Side' work in Pink Floyd. His solo in the second half of the instrumental track `Sukellus' is exceptional, as is his slowly unwinding slide guitar solo in the middle of the side-long title track. Outstanding work all around from this talented musician.

Kimmo Lähteenmäki offers a great variety of keyboard sounds throughout the album, but the arrangements never sound over complicated or too busy. In fact, there's such a sense of tasteful restraint and space through the entire album that many other bands could benefit from taking this approach. Plenty of wonderful Mellotron and organ, of course, too!

Both Aapo Honkanen on bass and Mikko Väärälä on drums do some terrific work on the album as well. Lets face it, you don't get rubbish players on prog rock albums!

The albums begins with an almost fanfare sounding track, `Autio Pelto'. Featuring wonderful flute and electric guitar melodies that compliment each other perfectly back and forth, restrained organ adds to the epic sound. At about the three minute mark we hear the vocals for the first time, forceful and powerful. Overall a very striking and captivating theme to open with.

Booming church organ in the first minute of `Unohtunut', very overwhelming. That sound dominates much of this piece. The whole album has many mournful and darker moments such as these, but is constantly complimented by more uplifting musical melodies and arrangements to find a perfect balance. The church organ solo in the middle reminds me a little of the Glass Hammer `Shadowlands' album.

`Sukellus' is a joyous and uplifting instrumental, with a nice variety of keyboards and very low-key and effective Mellotron. The second half features an electric guitar solo with a sound very similar to David Gilmour's early 70's Floyd work. Some terrific sax playing on this one! All of the instruments come together for the majestic finale.

The obligatory `epic' to close the album! The title track is a side long piece, but not a wasted moment or any needless padding, standout moments throughout all of it. Several minutes in the middle feature a beautiful mournful slide guitar solo that is so reminiscent of early 70's Floyd, it's possibly the highlight of the album. The last part of the track features a reprise from the beginning, with a gorgeous searing electric guitar solo to take the album out on a high note, before bringing you back with a soothing Mellotron outro. Perfect way to wrap up the album.

I used to merely think this album was simply decent, nothing more, but as I've had it for a few years now and given it repeated listens, it's grown on me immensely, and I enjoy it more each time, discovering new details with each additional listen. As usual, it's the albums that don't grab you straight away, that you have to commit to listening to over and over, that prove to be the most rewarding. When I gave it the most recent listen, I realised after all this time just what a terrific piece of music it is, and a well deserved addition to any serious prog lovers collection. The players in the band Viima should be hugely proud of this work, and I hope we get a follow up album from them in the future.

My fellow friend from the Prog Archives Tom Ozric recently brought up this album in conversation, and he sort of matter-of-factly mentioned "You know, that Viima album we bought years ago.....might actually be a bit of a total classic..." I think he might be on to something there...

Viima started in 1999 in Turku as Lost Spectacles, led by three members of the later Psych/Folk band Kosmos, singer Päivi Kylmänen, keyboardist/drummer Kimmo Lähteenmäki and guitarist/flutist Mikko Uusi-Oukari.With two more members on bass and guitars they covered Matti Järvinen's track "Tuulee Niin" for the 2001 ''Tuonen Tytär'' compilation by Mellow Records.The following years the band suffered from come's and go's on the bass and drums positions, eventually residing on Jarmo Kataja for the bass duties, while Lähteenmäki handled both the drums and keys.In 2006 the band's debut ''Ajatuksia maailman laidalta'' is released privately under the Viima name, featuring three new and three older and remixed compositions.

Viima play some sort of Symphonic-Folk Rock with minor psychedelic influences and bands like CAROL OF HARVEST, REBEKKA and WHITE WILLOW are the first reasonable comparisons.The overall atmosphere is mellow and calm despite the constant use of electric guitars.Viima rather head for balanced, careful-played Progressive Rock with elaborate melodies and dreamy instrumental sections than delivering something too complicated and excessive.The keyboard work of Lähteenmäki is a strong point and dominates the album, featuring moog synths, mellotron, harpsichord, church organ and piano, thus adding to the album a heavy vintage flavor.The guitar work is mostly melodic with evident CAMEL influences.CAMEL appear to be a great influence for the band also in the flute parts.However the acoustic passages have a melancholic tune, typical of Scandinavian bands, while female vocalist Päivi Kylmänen has a steady and clear voice.Do not expect to hear some fascinating musicianship by Viima.The members of the band are clever enough to focus on their strongest advantages, which are the delicate harmonies, the folk atmospheres and the vintage prog aesthetics.

A great Finnish surprise and a decent Prog/Folk file next to the likes of bands of the style with evident symphonic leanings.Warmly recommended, even more if you are after acts like EDEN, REBEKKA, WURTEMBERG, CAROL OF HARVEST, WERWOLF or CREDEMUS. ..3.5 stars.

This sounds quite different than their more folky debut with another line-up including a female vocalist. But I'm happy to find out this is not a disappointment at all, even if the vocals (by Hannu Hiltula who also plays sax and flute) are not any special. Emotion comes primarily from the music, and Hannu's commonplace baritone vocals do fit in very well. Lyrically this album is a clear improvement over the rather naiive debut, partly thanks to using poetry of respected classic Finnish poets Uuno Kailas and Aaro Hellaakoski (from early 20th century) on two first tracks. The long epic sharing the album's title is written by the drummer Mikko Väärälä (I hope I'm getting these details right out of my memory!) and its lyrics seemed quite fine though I don't memorize anything of them now. Anyway, the emphasis all the way is on the music, not vocals, rather the same way as with CAMEL, one of the bands VIIMA is repeatedly compared with.

This music full of soaring melancholic melodies in very progressive compositions (but where complexity never gets self-poignant), is almost guaranteed to please the friends of the classic 70's prog from England or Scandinavia. Finnish comparisons could be TABULA RASA and NOVA, but especially Swedish KAIPA's debut from 1975 came to my mind. The sound - both instruments and vocals - is quite similar, and why not the atmosphere too. All these comparisons don't mean VIIMA would merely circulate vintage prog sounds. And so what if they did, they do it excellently, without copying any band in particular. Yes, this music really could date from the seventies, and in my opinion this is a good thing these times, when too many prog bands get heavier. I hope this group stays around. (A definite 4½ stars if there was such an option!)

Is a brilliant prog folk album from these Finnish rockers. Fronted buy a female singer, (Päivi Kylmänen) all the lyrics are sung in Finnish. The opener, "Leihonan Syksy" (6:27) (8/10) sounds like a dead ringer for a Finnish "Living in the Past." The title song is at times a bit bland, at times a bit too folksy, but still a solid song. "Ilmalaiva Italia" (5:59) (9/10) is a mellow tune with some simple but great musical support to some awesome vocal harmonies. "Meri" (7:57) (9/10) is great throwback to CURVED AIR's "Marie Antoinette" with great electric guitar substituting for David Cross' violin. "Luuttomat" (5:56) (8/10) starts as a gorgeous acoustic guitar vocal & flute folk song before switching gears to electric guitar and saxophone. The finale, "Johdatus" (9:31) (9/10) again shows a lot of similarities to CURVED AIR, musically, but especially in the lead vocalist's sounds and stylings. The piano-based, classically-tinged second section and the electric guitar play in the eighth minute are both highlights for me.

A solid four star classic.