Hailing from Tampere, the progressively inclined bunch, SOMEHOW JO, released their third studio album “Scales and Details” via Inverse Records in autumn 2022 but it somehow slipped through my radar completely. The album is such a banging selection of proggy twists and turns that it is high time I dig into it! Their experimental sound has been compared to pedigree acts such as SYSTEM OF A DOWN, MASTODON, and even to the oriental psychedelia of the iconic Finnish legends from the 1990s, KINGSTON WALL, so let’s see how this collection of nine new songs fares. It turns out that most of these songs have been birthed through jam sessions and it kind of shows; the joy of playing together really shines through. The lyrical themes do not necessarily come off just as joyful but they aren’t wallowing beneath the mire either but traverse the moderately unhappy medium of Slavic melancholy.
The album kicks off with “Fata Morgana,” an off-kilter prog onslaught that was released as the second single off the album. The Italian term in the title refers to the optical phenomenon of mirage – that is, the optical illusion where the curvature of light rays sort of overrides the curvature of the Earth under certain conditions. Rather befittingly, right off the bat, the opening bars recall some of the most recent vintage-tinted endeavors of the Swedish prog monolith, OPETH. The production and vocals reveal that we’re talking about a different breed here. Vocalist Christian Sauren‘s signature tone resonates with a tad more post-punkish air and the production is not so bent on paying a homage to the prog and classic-rock milestones of the 1970s.
Released as the first single off the album, “Friend” depicts a story of a burning memory, suggesting that the ghosts of our past may well be too pervasive to be fled alone. The ominous, atmospheric intro leads into slightly oriental-sounding spheres – and, once again, the Middle-Eastern guitar ornaments would fit quite smoothly in any moustache-prog-era OPETH album. Sauren even showcases his harsh vocals here and there. However, rather than channeling some chthonic ogre energy, his belting resonates with a somewhat post-metal-tinted aura, recalling Aaron Turner of ISIS, in passing. The song juxtaposes lighter elements against the dark and heavy stuff rather poignantly.
Next, “Cycle” is an apt example of the band’s free-wheeling, take-all-corners approach with its somewhat cabaret-like prog mayhem. By now, it is easy to fathom where those SYSTEM OF A DOWN comparisons stem from, albeit SOMEHOW JO is significantly more about progressive rock conduct than twisted thrash-metal riffathons. The funky main riff here could even trigger some vague flashbacks of the mid-1990s DON HUONOT hit cavalcade – and the following track, “Spin,” even more so!
As a counterweight to the heavier riffs, “Rush” is unashamedly pop, traversing sonic terrain that is not a far cry from, say, the sound of the early-2000 Finnish indie-pop squad, BRIGHTBOY. Then again, a little bit of extraordinarily sophisticated pop never harms anyone. This song is easily one of the catchiest bangers on the album. Obviously, the band has engaged themselves in a determined effort to have their feet in several worlds at once – and that’s a rather substantial part of their appeal for a prog nerd like me!
The cabaret flavor thickens on “When It Fails,” with the guitars weaving a funky tapestry that could challenge some of Stevie Wonder‘s most iconic clavinet riffs! These tricksters boldly go where most dare not to venture and, while at it, break down all conceivable barriers with an admirable laissez-faire-devil-may-care attitude. At this point, the listener has been treated to such a feast of seemingly disparate flavors that the rest of the album cannot shock or surprise him anymore; “Getaway” is an eccentric rhythm burger, and “Rising Sun” is a mellow, triplet-meter breather. Closing the album, “Mirror” is a banging, mid-tempo riffer that resonates with the neo-prog air of bands such as CHROMA KEY, IQ, and OSI. At first, I thought the song wasn’t perhaps the best candidate for a closer but, after repeated spins, the song’s coda has grown to its full epic splendor. Now, I’m thinking the coda should have lasted for a few more minutes to pay proper homage to the feeling of bringing closure to this sonic trip. It’s almost as though a gentle impetus has been given to a wheel, with every revolution increasing its momentum. These dark magicians sure know how to write diabolically catchy songs that don’t necessarily grab you immediately but, instead, slowly grow onto you like a new tail to a common lizard – and to even think that this album almost slipped through my radar entirely!
Some mystics say that, when sound and rhythm are understood in their true nature and character, then music is not only something to put on to drown out our existential dread hissing in the background, but then music would become a source of healing and upliftment. By way of the latter, “Scales and Details” sure proved one uplifting little devil, even in retrospect. Then again, I really should have known to expect something like this after bangers such as “The Grey,” “The Fear,” and ”Alcoholiday” that blew my mind back in the day!
Written by Jani Lehtinen
Tracklist
- Fata Morgana
- Friend (Explicit)
- Cycle
- Spin
- Rush
- When It Falls
- Getaway
- Rising Sun
- Mirror
Lineup
Christian Sauren – vocals, guitars
Eero Aaltonen – bass, backing vocals
Sakari Karjalainen – guitars, keyboards
Lassi Peiponen – drums
Label
Inverse Records
