EKKEDIEN TANSSI

Second (and last) album in as many years for TR, but the line-up had changed a fair bit as the flutist got replaced by a keyboardist and the drummer stool saw a new owner. Strangely enough, the usually very-trustworthy Asbjornssen shoots at this album, describing it as surprisingly uninspired and sounding more like UK prog. I can only disagree, even if the album's overall energy level doesn't increase, but the typical Italian-prog feel is still quite present. As for the inspiration, everything is relative, neither TR albums being particularly original or groundbreaking (euphemism of the day of reviewing).

Once again, the lion's share of the songwriting is left to guitarist Silvennoinen, except Glass Bead Game (obviously named after Hesse's book) where newcomer KBist Sinisalo gets a co-credit, though it does make much a noticeable sonic difference. Even Gustavsson's (Wigwam) production and backing vocals don't make much a sonic difference between Ekkedien and the band's debut album. Actually, there is one track that seems to stick out a bit from the TR mass, the A-side?closing Omantunon Rukous (or sumthing of that ilk), because the dramatics suddenly peak to the country's highest hill; but in all honesty, you won't get much jollies, unless being particularly non-demanding.

Btw, at the time of reviewing, I was only able to get my hands upon a Japanese label pressing of both of TR album, but I can't imagine that Love Records will not reissue these two albums in the not-to- distant future. The album's artwork is certainly a big improvement on their debut(s very bland (and very blank) artwork, but its fantasy-cum-sci-fi nears the ridiculous, as it is a total prog cliché, and not even a good one. Soooooooo, as far as I can hear, I don't find this second album inferior in any way to the debut; the additional KB compensating for the loss of the flute.