VIIMA

After 15 years of recording silence, Finland's VIIMA have re-emerged as if almost no time has elapsed. Only one personnel change since "Kahden Kuun Sirpit" sees keyboardist Kimmo Lähteenmäki step back into a mere guest role, replaced by Risto Pahlama. The album title means "The Night of the Mind is Gone", which might just be a FInnish expression that doesn't translate all that well literally. Most of the track titles are earth centered at some level and the music, with its ancient folk vibe, suits these themes well.

It's unfortunate that the 18 minute centerpiece, while radiant in parts, seems to meander and I have trouble connecting with it emotionally, unlike the vivacious prog folk of the opener and the methodical buildup and metamorphosis of "Perhonen" (butterfly) with perhaps Risto Pahlama's best vocal and Mikko Uusi-Oukari's consummate guitar solo. But then we have come to expect searing melodic leads from VIIMA. The finale which translates to "Mountain Peace" channels a Buddha or two, culminating in a lengthy organ coda that is already provoking in me ecstatic waves of frisson. If it doesn't for you, try headphones; if it still doesn't, I am sorry.

If there weren't already an abundance of stellar prog folk, particularly Nordic style, in the last 15 years, I might have missed VIIMA more, but that's all changed now. They are on the radar again. I hope this latest is not just an every decade and a half presentation, or even worse, a nightcap on a sparkling if unprolific run.

Finland's virtuosic prog folk rockers release their first album in 15 years--their third overall since their world debut on Colossus Magazine and Musea Record's debut release collaboration, 200s's Kalevala - A Finnish Progressive Rock Epic.

1. "Tyttö Trapetsilla" (4:42) light, upbeat flute-lead acoustic prog folk opens sounding like a JETHRO TULL song before Risto Pahlama's doubled-up vocal enters issuing forth a fairly standard melody. As the song plays out it turns out that the song as a whole is a rather standard ABABCAB construct as if aimed toward radio play. (8.5/10)

2. "Äiti Maan Lapset" (18:50) a beautiful piece of prog that feels Italian! It's on a par with some of the masterpieces Musea Records and Colossus Magazine were able to publish with their earliest themed albums like The Colossus of Rhodes, Kalevala, and Odyssey: The Greatest Tale (to which the band began contributing in 2008 with each of the three Divine Comedy trilogy renderings). Plus it seems to have that same rigorous adherence to 1970s period analog instruments and recording techniques that the Colossus/Musea projects asked (required) of their contributors. There is a melodic, laid-back, pastoral feel to this song that reminds me of some favorite albums of mine like MAD CRAYON's 2009 masterpiece, Preda, and Chilean band AISLES' 2009 and 2023 masterpieces, In Sudden Walks and Beyond Drama, respectively. Of the many themes and movements of this long, labyrinthine song, there are not that I dislike--even the weird guitar- heavy one in the seventh minute--none that don't reach directly into my core as if to satisfy some long-forgotten itch. While several motifs feel somewhat familiar (in a warm, friendly way), it mostly feels quite fresh and original--and while the singing is not knock-your-socks-off amazing, it is all quite perfectly interwoven within the flow and context of the current weaves--as if better appreciated as just more instrumental threads in the overall tapestry. Also, while no one instrumentalist or solo stands out as warranting special recognition, it is instead the selfless giving to the whole that, for me, deserves the accolades. I know it's early in the year (I'm writing this in late March) but this song one will be a tough one to top in my year-end list of 2024's Best Prog Epics and Mesmerics. (39.75/40)

3. "Pitkät Jäähyväiset" (6:38) a beautiful CAMEL-like palette and flute melody open this song for the first 30 seconds before a swelling organ chord signals the band's laying down a very standard and sedate straight-time motif for another ABABCAB pop song with the C section being drawn out for a couple minutes instead of relegated to an equal 30-second proportion that the other sections get. Long fadeout.(8.75/10)

4. "Perhonen" (6:45) beautiful pensive Fender Rhodes play opens this ruminative piece. The keyboard is slowly, very gradually expanded to other synths and some percussion until the three-minute mark when the song finally breaks into something meatier. Very CAMEL-like. This new vocalized motif has a nice pace and circular rising five-chord progression while retaining the Camel-like Mellotron strings chord support. Of all the vocals on the album, this is probably my favorite (though it's still not great). Guitar and piano play are nice--also Camel-like, but the song kind of ends as if it was just a set up for the next song--which makes it feel a bit cut off or incomplete. (13.25/15)

5. "Vuoren Rauha" (7:37) spilling over from the previous song, synthesizer wind sounds move it forward until processional piano and Risto Pahlama's priestly male singing voice take us into a kind of Russian-feeling dirge. This sounds very much like something off of AFTER CRYING's great De Profundis album from 1996. Nice work with orchestral percussion, flute, and Mellotron before the drums kick in. In the fifth minute (!) we finally kick into the realm of a rock instrumental palette. This turns out to be a very pretty almost-1960s song (due to the presence and extended solo of Hammond organ. I like it. (13.375/15)

Total Time 44:32

A/five stars; despite less-than-stellar marks for the album's other four songs, the presence of the 19-minute epic--the best epic I've heard (so far) in 2024--elevates this album to a higher level than it might deserve but such is the possibility of an album as opposed to that of a single song release. Highly recommended.

Only 2 members remained from VIIMA's debut 3 years later, the most audible loss to this Finnish band being that of vocalist Paivi. But even with her exemplary voice off the table, the style has morphed from rather vivacious (especially for Finland) 1970s infused Tullian prog to a more atmospheric and somewhat less folky mix, fronted by new singer and winds man Hannu Hiltula. To be clear, it's still hardly depressive and generally positive music, just less demonstrative about it. I don't know what drove Paivi out but it wasn't personal differences as she and several others have remained in KOSMOS for some time now. I'm guessing she was less comfortable or suited to this change in direction.

The opener does seem like a holdover from the original lineup, a very jig like lead guitar hook and the introduction of sax herald in this cheery number that reminds me of the more medieval tracks from FOCUS, with Camelid reflections. It appears to have selected an instrumental bearing until, almost 3 minutes in, Hannu makes an appearance and his tendency to multitrack and blend more into the tunes is immediately apparent. He isn't a great singer but his talents have been accentuated through underuse throughout the album.

"Unohtunut" is the most ambient cut and my favorite, beginning with all the pageantry of a KERRS PINK intro before quickly settling back into a enchanting meditative and reflective vocal section. The last half is an alluring slow buildup showcasing the band's instrumental talents. "Sukellis" is all instrumental with splendid synth work. The closer takes up fully half of the recording and is a bit of a hodgepodge that I am still trying to make sense of as a coherent piece, which does not me from enjoying the many enjoyable audile "scenes". including the return of the flutes.

Interestingly, this was the last output from the band for 15 years, with a 3rd album only materializing in 2024. Kudos to VIIMA for shifting the approach but matching the quality, not an easy task for any group let alone a young one. You can't go wrong with either of their first two albums, so enjoy!

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...