RIO/AVANT-PROG

Things didn't get any less bizarre on Höyry-Kone's second album, "Huono Parturi". In fact, they took a lot of the ideas and approach from "Hyönteisiä Voi Rakastaa", added a bunch more, and pushed it to another level. This time around, the band seems a lot more together too, and the material is a lot more memorable as a result.

Much like 70s Finnish proggers Haikara, Höyry-Kone draws inspiration principally from King Crimson (though probably Haikara too), but Höyry-Kone also branched out enough to make it into the Avant-garde. However, more important than sonic similarities, the levels of creativity and willingness to experiment also remind me of KC. There is just such a feeling of freedom about this album, like they were just going to do whatever they wanted. Oh, and it sounds great too; that always helps.

The core sound to this album consists of a raucous blend of harsh guitars and impressive violin/cello, along with pounding complex rhythms and interspersed with occasional booming male vocals and quieter sections. Well, that still doesn't really encapsulate the core sound, but then there are quite a few songs that are nothing like it anyway. For instance the first song, "Beata Viscera", is a serene Latin opera, completely unlike the rest of the album, and goes on for about 7 minutes. Unlike some other reviewers I definitely enjoy this song, but it is a complete misdirect as to what the rest of the album will sound like. It's even in a completely different language (the rest of the vocals are in Finnish).

After the opening, the album launches headlong into madness with "Terva-Antti Ku Häihin Lähti". The first time I listened to this album, I had turned up the volume quite loud to listen to the quieter parts of the first song, so the harsh strike of the opening riff actually made me jump when it caught me completely by surprise. This song is a dramatic string fuelled gallop, where the guitar sounds like it's in pain at times, the way it screeches. Whilst no song on here could be fully representative of such a diverse album, it nonetheless does give a better indication of what the rest of the album will sound like. The next song, "Karhunkaato", also really rocks. The strong male vocals return, and the violin guides complex rhythms that still manage to be strong and driving.

Things don't let up with "Lumisah", another quite heavy song. The percussion really crashes here and the violin floats around sinisterly as it so often does on this album. Weird but headbangable (yes that definitely is a word)! For me, headbanging then turns to a sort of enjoyable bemusement, with the good humoured interlude "Baksteri". It's a Silly little piece of old school jazz that (at less than two minutes) manages to be a fun interjection without outstaying it's welcome. It provides a brief but welcome break before just ending strangely and without much ceremony.

The title track, "Huono Parturi" takes us back to the hard rocking mix of harsh Frippish guitar riffing and slithering violin. Once again Topi Lehtipuu shows great strength with his vocals, and good range too. As with the rest of the album, Höyry-Kone play very well as a unit, often stopping and starting together, or paying intricately across each other without ever getting into a mess. This leads into another two minute interesting little track, which again is completely different to the rest of the album. "Ullakon Lelut" is an atmospheric ethereal piece, that holds attention intensely, and again is just the right length. It also serves as proof Höyry-Kone can be subtle as well as bold.

Once more, just when they've set you into one mood that's when they slam you in the face with the aggressive heavy stuff, in this case "Tottele". I Think I can hear some growling noises in the background at certain points, which is fun. I also like the thick distorted bass soloing on this song, which puts me in mind of John Wetton. "Tottele" is another short song, but heavy and mad this time, so it feels like a hit and run. The album then continues with "Kala" and "Laahustaja", both of which take their time a bit more and move between slower, quieter, calmer sections and more exciting sections, in quite a natural manner (not an easy feat for weird music like this). "Laahustaja" also features some enjoyable guiding contributions from the flute which I liked.

After an exhausting journey, things finally conclude with "Laina-Ajalla". There are some high quality vocals here, Finnish does really accent the delivery in a good way, I think. It does mean I have no idea what the song is going on about, though according to google translate, some sort of photographer. The other songs appear to be about tipping bears, attic toys and fish, so I can only assume all manner of spectacular nonsense is being sung about. There is some more guitar torturing (definite squeals) and the song (and indeed the album) ends with a crescendo of wailing vocals before fading away to some odd noises. Phew!

Late 90s Finland might not be an obvious place to look for imaginative and exciting Avant-Prog, but this album really impressed me, and you should definitely check it out. It's full of ideas, and great inventive musicianship from all instruments. Even the percussion has some odd sounds (e.g. metal clinks). The mix of shorter pieces and heavy bombardment, along with the variety of music on offer make this a brilliant album to get into. It's such a shame Höyry-Kone ended things here; goodness knows where they would have gone next!

When I think about all girl bands I tend to veer into the vicinity of Spice Girls, Destiny's Child, The Supremes, Martha & The Vandellas and those awful Pussycat Dolls.... Until I crossed paths with PA some 6 years ago, I'd never in a million years imagine finding an act like OOIOO with 4 girls strutting their stuff in the more playful and obscure pathways of the avantguarde rock n roll quarters.

WTF?!?!?!! Was my first reaction, when I heard OOIOO. Like a cold sucker punch to the stomach, I'd have to man up to the fact that all my preconceived notions concerning women and music - make that women and experimental music - were basically faulty at heart. Here was a group of women who actually played progressive rock with the force and attitude of a screaming punk creature from the British gutter ca 1977.

I took a chance with this thing after attending a Flaming Lips gig in Denmark's most famous amusement park, Tivoli. I learned that Yoshimi Battles The Pink Robots wasn't just a flash way of incorporating Japanese zing into an album title, but actually the name of one of the guests featured on it. 'Great Scott!' I thought to myself, when I then found out about her being in an experimental rock group from Japan with all girls, subsequently ordering their debut the day after with a massive hang over and weird memories of Teletubbies accompanying the entire FL gig dancing joyfully on each side of the stage...

Originally known for playing drums in Boredoms, Yoshimi P-We founded this group sometime around 1997, before opening up for Sonic Youth later in the year. She's played the occasional trumpet toot as well, but somewhere along the line - she switched to the guitar and just about any other instrument you can think of. On this baby she terrorises everything from synths, various flutes, djembe, piano, drums and santoor to a freakin triangle. Joined by fellow kamikaze pilots Kayano(guitar, vocals), Maki(bass) and Yoshico(drums, maracas) Yoshimi seems to have created a modern parallel to the rumbling wild and playful lands of Krautrock.........well at least with Gold & Green that is. There's a primal surge of energy running through the heart of this thing, and simply name-dropping acts like Faust, CAN and LA Düsseldorf feels oddly out of place - even if you hear all those acts emanating through in different layers of the music.

Always managing to stick its sweaty face into the mix, we find tribal percussion, Indian rhythms, hypnotising drones of electronic fluttering bits - THE BEAT ladies and gents! - all of which interweave in extraordinary ways throughout the course of this album. These rhythmic acrobatics are to me the very key to the music. Not only used for traditional purposes, they tend to morph and zoom out of their shells and take on melodic forms. At the same time you'll find the flutes, synths and whatever else being played by Yoshimi mimicking the playful feel coming outta those rhythms - making for a totally unique sound.

With a little bit of J-Pop sensibilities, post punk, RIO, sensuous female gibberish vocals and Indian flair thrown in for good measure, Green & Gold moves away from the prevailing fad with most modern psych rock revivalists, where long and loose jams somehow manage to find their way onto tape. All of this album feels knitted together in a highly precise manner. Nothing is left for chance -not even the tumultuous parts. It's like looking at those breathtaking silk prints from Japan. Pinkish apple blossoms on a background of orange sun and withered trees. There's a similar search for perfection here, even if it takes the music to far away cultures.

Did I forget to mention that Sean Lennon makes a chorus cameo with some vocals? Or that I lost 5 kilos last summer just by dancing to this baby? I probably forgot about the Spice Girls too right?........ No? Well all I can say is that if you're a big fan of the Spice Girls, you're most likely going to love this played at the wrong speed in a dream inside somebody else's dream house. 4.5 stars.

Originally appeared in Feedback #70, Oct 02

This is not easy listening, but rather music that has to be worked at to be enjoyed. It may not be an album to listen to often, even for those who enjoy jazz more than I do, but there is something in it that is strangely compelling. Themes move, disappear, and then come back again later. There are only three tracks, but the shortest is more than nine minutes in length while the longest is more than twenty-seven. A friend I have lent it to is enjoying playing this at very loud volume, and is a big fan of the horns, but for many this will be an acquired taste. Not for the fainthearted, find out more at www.netbeat. com/carbon7.

Originally appeared in Feedback #66, Feb 02

I have had this record for over ten years. Me father and I collected Swedish "progg"-vinyls when I was small. Then we prefered the more political music such as "Nationalteatern" or "Dan Berglund" so this record has grown for me and it is now, when I have found my new gods in the progressive world I finally can appreciate SMM's music.

This is an extremely good record I warmly recommend. I didn't enjoy their first record "Samla mammas manna" so much, their second is better but this is perfect. "Snorungarnas symfoni" is also a masterpiece in their production but this is closer to what sound we do interconnect SMM with. I wouldn't say Klossa knapitatet involves everything, but It does almost. There are som many strong melodies here, played in a wonderful genuine way with all the instruments can do. Some tracks are more experimenting than others but all the time they are so coherent and real it's hard to not love it. "Ingenting", the starter has a nice little melody that welcomes us and "Liten dialektik" is more exploring and asking. It's like a mystery they were trying to solve. "Långt ner i ett kaninhål" has a symphonic melody and it is like a comedy or a satire of pop music. The next side starts with revolutionary "Kom lite närmare" which talks to the audience and frightens them. "Musmjölkningsmaskinen" is as absurd as its name (The mouse-milking machine) with a wild and crazy melody and "Influenser" is opposite to everything. "Klossa knapitatet" uses accordions to make its wonder and "Ramlösa kvällar" closes everything in a good way.

This is a wordless record but the instruments tell a lot. If you haven't heard Samla mammas manna this is a perfect beginning. Don't be afraid of their left wing opinions, you won't hear them. The revolution is in the music, and they have a lot in common with Frank Zappa for example. Also a plus for its different cover, a painting of Tage Åsén.

The thing is, Captain Beefheart was never really a man of his time other than his earliest career phase (and I really like his debut, SAFE AS MILK, despite the 60's overtones). If you haven't been initiated with Captain Beefheart, he has a music style that is rough, jagged, avant-garde and seemingly difficult to digest, yet there's always a fine line underneath the chaos that keeps the music together. Stomping beats, swinging tempos, bluesy rock guitars, the occasional delve into abstract poetry; it's all here for Beefheart fans to soak up and enjoy.

Some of what is familiar Beefheart territory is best described in ''Hot Head'', ''Sheriff of Hong Kong'', ''Best Batch Yet'' and ''Run Paint Run Run'' (my overall favourite cut). There are a few others can get a little dicey. ''Making Love to a Vampire with a Monkey on My Knee'' is as weird as the title suggests as it's nothing more than mellotron washes underneath unusual fantasies. ''A Carrot is as Close as a Rabbit Gets to a Diamond'' sounds a little out of place concerning the overall style of the album (in contrast, this song is a restrained piano/guitar interlude), but warranted given that it's slotted between two rough-and-tumble numbers. And the Beefheart voice of Mr. Hyde and Mr. Hyde is in full throttle going from constipated old man to ''out-of-breath-after- getting-punched-in-the-stomach'' vocals, and yet Beefheart still makes those sound plausible.

DOC AT THE RADAR STATION is one of the more digestible Captain Beefheart albums I have come across, and considering that his trademark style is splattered all over the album, I'd say this is a good starting point for the uninitiated. This album proves that you can base yourself in avant- garde overtones and still have hooks in your music.