METSÄLAPSI

14 years have passed since the eponymous debut of this Finnish group, so it came as a surprise they just released their second album. First off, very nice to see Eetu Pellonpää's excellent art on the cover. I think it was Eetu who brought the band to this site.

I was rather reserved in my review for the debut, and my initial impression on Metsälapsi wasn't entirely positive either. Having seen a glowing 5-star review on a Finnish site, I expected to enjoy the album much more. However, upon further listenings I am warming up for the band's personal and flexible style.

What particular genre they wish to belong to, seems totally irrelevant. Not necessarily very folky to me, I consider their music to be energetic and retro-minded jazz rock with some World Music reminding nuances -- and a strong emphasis on the vocals, although the compositions also contain plenty of instrumental soloing. Anyway Susan Karttunen has quite a piercing and ballsy voice (slightly resembling Elli from the pop- rock group Haloo Helsinki) that draws attention sometimes a bit more than is necessary.

However, musically the eleven tracks have a good amount of variety. '1930' has a hint of cabaret chanson in its melodies. The guest appearance of trumpet suits very well to the sunny atmosphere of 'Varpunen'. 'Lato' is (despite the vocals) an instrumentally oriented, groovy jazz rock piece with a seventies feel.

Sad to read the line "In loving memory, Jani Häggblom (1974 - 2022)"' in the leaflet. The keyboard player, often favouring electric piano in a jazzy style, was very essential to the group's sound, fully concerning also this album.

'Ritariperhonen' in the centre of the album is a beautiful little song with an acoustic guitar backing that shows that Susan is capable of delicacy, too. Perhaps the latter half of the album loses that lighter side to some extent, but 'Japanin laiva' has great emotional dynamics in that sense. Four tracks feature saxophones (alto and tenor), and even some funk ingredients are heard. The hippie-ish groove on 'Pelota' for example is pretty inviting. I can imagine the band would be awesome as a live act.

The long title track, beginning with birdsong and a slow first movement leading into tight jazz rock energy. is a great album closer as the most progressive piece, graced by the fantastic guest appearance of Janina Lehto's flute. Wish there were some flute elsewhere as well!

What we have here is the second album from Finnish outfit Positive Wave, only fourteen years on from the debut. Performed entirely in Finnish this is progressive folk with plenty of nods to jazz and psychedelia. In fact, the whole album sounds as if it were recorded at the end of the Sixties and was now just coming to light as opposed to a brand- new release. Lead singer Susan Karttunen has a nice range, but what makes her voice stand out is the edge she can provide, which normally comes from the blues as opposed to this style so while she can sing very sweetly indeed it is when she is coming across as a more refined Janis Joplin that the music really stands out.

The dated electric piano underpins what is happening above, and there are times when we move almost into funk territory with "Pelota" sounding as if it is coming to us from the late Seventies with plenty of horns, while the rest of the album sounds as if it is from a decade earlier. According to the mighty Google the title translates to 'Forest Child', but that is to be taken as being from a psychedelic viewpoint as opposed to folk. I had a look at their website and it appears that keyboard player Jani Häggblom died during recording, which does make me wonder if this will be the end of the band given they have not exactly been prolific to date, which will be a shame as this is a nice album which really does take us back to a time gone by which feels genuine as opposed to someone just playing at it.