Iki

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ALBUM INFORMATION
EDITOR'S PICK

Total Tracks: 12   Total Length: 46:17

eMusic Review

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Chris Nickson

eMusic Contributor

04.22.11
A return to form for Finland's folk darlings.
2003 | Label: Westpark Music / Zebralution

By their ninth studio album, Finland's folk darlings had undergone a lot of changes. The original 21-girl choir that formed 20 years before had slimmed down to a professional unit with only three singers. But Iki represents a return to form after a few years where they seemed directionless, pushing more towards pop. Even though many of the compositions here are original, there's no doubting the sense of roots under it all. Backed by insanely tight musicians, the vocalists soar freely over the melodies, although they've toned down the keening sound that was once their trademark, going for lusher harmonies. There's a real exuberance and effervescence to the performances, even on the versions of "Syllinen Syli" that bookend the album, where they're joined by a choral group. "Nahkuruoska" is a gleeful revenge romp, while "Maahinen Naito" takes a giant leap to the skies as it closes. The return of Värttinä, more powerful than ever.

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Lovely Female Lead

Sodbuster

The clear female lead voice is so bewitching, you don't need to know any of the language. And the music is as enchanting as any that European tradition can offer.

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They Say All Media Guide

Twenty years after Värttinä began, there’s still plenty of energy in the band, although they’ve come a long, long way. More mature, they’ve learned to use finesse over speed, and the themes they tackle here are certainly more adult — romantic betrayal recurs in both “Syyllinen Syli” and “Nahkarouska,” although in both instances the woman sends the faithless man packing. The keening voices, once a band trademark, have all but vanished, replaced by more delicate harmonies that suit the material, and the six instrumentalists give them plenty of room — although they’re quite capable of making a storm of noise, too. There’s a real beauty to songs like “Tuulen Tunto” and “Maahinen Naito,” while “Tauti” is edged with the black clouds of foreboding. After their live disc, they seem to be embarking on a new musical chapter, in search of new pastures, and the journey here proves very satisfying indeed. The frantic edge that characterized them for so long has vanished, although their joy in music-making very obviously remains. – Chris Nickson

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