The Finnish alt-rock quintet Pastis released their début EP Four Stories last week.
Pastis – Photo by Ashley Wolf
Fishing deep in to the pool of ’60s and ’70s brit-blues and merseybeat Pastis deliver music that has a warm analogue glow which palpably raises the temperature in the room. By flattening the dynamics of range in the songs they counterintuitively, for those used to a world of digital sharp definition production as being a normality, are able to create music that is wrapped in multifarious texturing in which the listener finds natural cohesion, far more expressively than multi-track compositions are ever able.
Word arrives they are preparing to launch themselves on the live circuit in and around Helsinki, if you happen to be nearby, whilst also planning a second release for later in the year.
Had they been listening to their music as the photpgraph was taken, they would have had no need for overcoats and woolly jumpers.
My selection of the EP, which is available on bandcamp, being the opener Es Muss Sein.
It was back in the 2015 that the Finnish electro-rock project Forwardman last featured.
A nine track LP is slated for release this year and the first track from the album – We Are – was revealed on the 1st.
A quite different sound emerges from the speakers with the electronica taking front stage allowing We Are a more luxurious generosity of texturing that fills the room in expansive frequencies which, like agitating foaming bubbles, resolve in to ever changing shapes of sonic weave in to which the audience fruitlessly stretches arms to embrace.
Freshly out of the blocks with the first song to have been released at the tail end of last year.
Take Me Away is carried through the room as though by pall-bearers on splintered stilts as the juxtaposition of angular minor piano chords is pivoted by dream sequencing of synthesised guitar whilst the morose vocal holds spotlight.
Rather than combining as a collision of conflicts there is an underlying adroitness which enables Max Starzeff to deliver a deep, dark pool in which the audience desires to dive and become subsumed.
The Finland / Sweden based shadowy-indie trio Timshel released the single All Is Well on the 24th.
Timshel – photo credit – Laura Mendelin
Immediately on hitting play the listener is cloaked in a soft dark-purple shroud from which they are instantly regretting the song only lasts for a mere two hundred and ninety three seconds, as, akin to falling in to an infatuation with someone at first sight, so the audience is likely to a similar state with All Is Well on first listen, such is the attraction of the beauty of the outer-skin.
Of greater arousal of persuasion is that the further one explores beneath the surface the more nuanced and evocative the composition becomes with a lyric espousing of its own obituary and a layering of instrumentation and percussion which tenderly caresses the cheek prior to teasing towards a dark stairway to an unlit cavern engorged with pulses of lust and supplication… Dare you? …I highly recommend the journey.
The Finnish dark-rock band Uptown Electronics released the two track single Crashin’ Slow on the 15th.
Uptown Electronics – Crashin’ Slow – artwork
There is a different layering than music previously featured which is evident in both Crashin’ Slow and the B side Release The Pressure where rock guitar architecture builds the scaffolding to the songs as the looming tracks darken the doorway.
These are capable musicians and I look forward to hearing more in the coming years.