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Posts Tagged ‘Hoyry-Kone’

Rediscovering an old favorite: Höyry-kone

Wednesday, June 3rd, 2009

Huono Parturi: holy shit!

I love going back and listening to great albums I haven’t touched in years. “Laahustaja” makes me bang my head as much as any metal album has in recent memory. Alamaailman Vasarat has some great cello lines, but the one in “Laahustaja” is pretty much untouchable.

I still remember the performance that Höyry-kone put on at ProgDay 2000; definitely one of the best live sets I’ve ever seen. I have an image in my head of a bunch of solemn dudes in black suits onstage, except the cellist looked like he could have been in a punk band, and the singer had this huge beard and a tophat and sounded like he should have been fronting an opera. That image could be completely fabricated, but I like it.

Scattered thoughts

Sunday, December 10th, 2000

Reading Bill Martin’s Listening to the Future after finishing Macan’s Rocking the Classics, I get the feeling that Martin writes uncomfortably like a prog-rock fanboy, whereas Macan seems more levelheaded. Martin just seems far too defensive about the genre as a whole, and adds in a lot of unnecessary parentheticals about how much prog has been persecuted (as well as even less necessary parentheticals about various political issues).

That one-note guitar solo at the end of Low’s “Over the Ocean” never fails to amaze me. It’s utterly perfect, heart-wrenchingly beautiful, and yet it’s just the same fucking note over and over again. How does that work? Even Fripp’s (in)famous “one-note” solo in “Starless” modulates continuously, so it’s not the same pitch over and over again (and besides, it’s the furthest thing from “beautiful”, though it’s undeniably effective). It boggles my mind how this one-note solo can be so perfectly done, evoking such an emotional response every time I hear it.

Jussi Karkkainen told me that the next Höyry-kone album will probably come out next year, though the band has not found a label for it yet (”certainly not APM”, he says - is this because of APM’s very slow rate of releasing music, or because of conflicts with Ulf Danielsson or others at the label?).

Holy shit: I’m listening now to Hundred Sights of Koenji at massive volume (now this is a bombastic album). At some point in “Ozone Fall”, a new male voice joins the chorus of demented singers and screams out of the left channel. I jumped, thinking someone was yelling at me from the commons room, which is to the left of my computer. Sheesh.

Höyry-Kone was the highlight of my ProgDay

Monday, October 9th, 2000

Predictably, I had a good time at ProgDay Sunday (I had a wedding to attend Saturday), though things were mitigated by the extremely irritating fact that I missed Discus, who were one of two reasons I went in the first place. I did manage to see the other reason, Höyry-Kone, who put on one of the most transcendent live shows I’ve ever seen. They were, in short, absolutely breathtaking, with a great, heavy set tempered by scads of onstage humor. I’ll write up a review of what I saw later, but the only other two bands I caught were Tiles and Malibran, neither of whom I was much impressed by.

Also predictably, I blew a goodly chunk of cash in the space of maybe twenty minutes:

So far, I’m most hooked by the Rahmann disc, which reminds me of a less dark and more world-music influenced Shub Niggurath-Univers Zero cross. I’ve been pleasantly surprised by both In the Labyrinth and Kopecky, both of which are relatively simple but feature lots of neat influences and hybrid sounds. I suppose it was almost a given that I’d like Kopecky, given the fact that I’m a total sucker for the fretless bass. Anyway, those are actually the only three albums I’ve listened to in-depth, but I’m looking forward to digesting the rest soon.

I’m going to try my damnedest to go see Höyry-Kone again at the Knitting Factory on Tuesday the 17th. It means missing Sunny Day Real Estate here in New Haven, but that’s a more than acceptable tradeoff. Those guys were simply breathtaking.