Kiila - 'Tuota Tuota' (Fonal)

Being in the K's, we're going to get a lot of Finnish stuff since that's the most common consonant in their alphabet. Actually, as I write this, I think this is the last Finnish record we'll encounter. But it comes close after the Kemialliset Ystävät LP, which a few members of Kiila appear on. Tuota Tuota doesn't sound much like KY though, or even much like Heartcore, the first Kiila CD which we'll get to if the CDs ever catch up with the LPs (not likely). While that CD is a more sketch-based set of songs with ambient overtones, the turn towards folk/traditional-influenced material is heavy here. Pekko Käppi is part of the band, and main songwriter Niko-Matti Ahti favours pastoral imagery (at least from what I can make out - my Finnish ain't so great); when the two of them sing together, or at least I think it's the two of them, it has a great, rough hewn to it. Not gruff, but not gentle, a bit scratchy around the edges, and that's when Kiila is at their best. There's a delicate approach to acoustics, with guitars and bowed strings forming much of the basis of the songs; the electric instrumentation includes bass guitar and keyboards, but they're always in balance with the more organic side. This is quite a jammy band, and that's the beauty; the lengthy 'Portaissa' which closes the first half ends in a cacophony of little noises and shaken bits, like a wave that crashes onto a shore and then leaves slowly evaporating foam. A female vocalist, I think Laura Naukkarinen (Lau Nau) takes charge of 'Niin Kuin Puut', and the pattern starts over - a delicate folky piece to start the side, and then more fleshed out jams as it progresses. 'Kehotuslaulu' ('invitation song', roughly) has a real hoedown feel, as whatever instrument Käppi bows attains a hillbilly twang; Jaakko Tolvi's drumming is always solid and the rave-up moments are truly festive, even a bit silly. 'Uhka, Uhka, Uhka' takes on the darkest tone; affected electric guitar and dense organ drones pull this closer to good 70s prog and away from the Finnport Convention approach that their more recent material has taken on. It's recorded in a really up-front way, like a bunch of musicians jamming in a studio and with the atmosphere set entirely by the arrangements, rather than any sort of clever roomsound or creative mic placement. It also reminds me of some of Nico's work (as in Christa Päffgen Nico, not Niko-Matti Ahti whose work it already is); in general, I'd say Kiila's aesthetic is actually kinda Krautrock influenced, as the best jammy parts can shift from medieval organs and tinkling bells to a monstrous, infectious bass-driven groove. But they are tasteful enough not to overdo it, and the closing cut (an instrumental) teases that it's going to be an 'everything but the kitchen sink' mess before tightening up around a focused theme.