VIEWS

And this one then, the second (but the first collaborator's) review for the final PEKKA POHJOLA studio album. A taste of ignorance, compared to the large number of the early PP albums. Views was not a "band album" in the way the preceding Pewit was, instead the recordings were made in a half year's timespan with hardly the musicians of even each individual piece present in the studio at the same time. This boundary-free approach was the manager Tapio Korjus's idea. By the way, the long guest list includes Pekka's sons Ilmari on trombone and Verneri on trumpet. The three leaflet paintings are again by his dear Rita.

7-minute 'Waves' is beautifully serene, classically oriented, moody and Finnish-sounding opener featuring e.g. Laura Hynninen's harp, cello and Tapani Rinne's soprano sax. Very peaceful all the way compared to many Pohjola classics, and for that exact reason a nice addition to his catalogue. 'The Red Porche' originally written in 1993 for a stage play on Charles Bukowski, is exceptionally a funky, good humoured SONG with lyrics (vocals by Sami Saari, Kim Lönnholm and Pemo Ojala). My darling said it reminded her of the Ghostbusters song! There's also the certain FRANK ZAPPA-like wit in this well done performance. You gotta like it if you firstly accept such unexpectable move from Pekka Pohjola.

'Metropolitan' (14:05) is an elegant, many-coloured composition with elements reminding of American (Las Vegas style) entertainment music. There are strings, horns, reeds and a pretty unspectacular synth backing, but placed in an elegant manner along the way, ie. not building too massive sound layers. Not among the finest or the most original music he ever wrote, but very pleasant.

The title track (7:34) is also rather mellow; the sound is very fresh and suitably light. It is notably less adventurous or crescendo-like than several Pohjola classics, but enjoyable. You don't always need such virtuosity or dynamics! The final track 'Us' (11:32) ought to have some more power in order to save the album from being too toothless. Yes, especially the brass brings some spine, and the distinctive bass in the middle is an unmistakable Pekka Pohjola moment. Again, not necessarily among the greatest Pohjola compositions ever, but very good and easy to enjoy. This concerns the whole album that indeed has a wide scattering of ratings. It leaves me with a positive feeling, hence four stars.