When judged alongside both the artist's masterful debut and its formidable successor, this self-released album tragically underwhelms at just about every percievable opportunity.I cannot claim that Paper Tigers was eagerly awaited, as it literally seems to have come from out of nowhere. The most popular nom de plume of the highly respected producer Sasu Ripatti, Luomo drops this new full-length practically under cover of darkness on his very own Huume imprint, whose back catalog boasts material from the Vladislav Delay and Uusitalo monikers as well as an equally unexpected reissue of the groundbreaking Vocalcity. While I'm certain this somewhat low-profile launch has much to do with the intricacies of promoting independent music to an information-saturated media, it inadvertantly implies an unintended lack of confidence. Take that with a grain of salt, if you choose, yet the truth remains that Luomo fans will be eager to purchase this sight unseen, or rather, sound unheard. To those devotees, I'd advise exercising some caution.
Admittedly, my expectations were sky high, as they should be when approaching the work of an artist one reveres. To be clear, I don't write of my disappointment with any joy nor the snarky glee of a pretentious elitist. Hardly a departure, Paper Tigers instead seems more like the product of a musician caught in a rut: a veritable poacher's trap stemming from reaching a point with a given artistic project and seeing no clear path for future progression. Such is the dilemma of the forward-thinking musician; he must trailblaze so that others can follow, ideally to forge their own paths. On tracks like "Really Don't Mind" and "Make Believe," however, Luomo dismayingly treads over ground he's already covered, though elsewhere he makes some attempt to change things up. "Let You Know" plays with a schaffel beat, while "The Tease Is Over" pours his now-standardized sound over a slower syncopated rhythm. Still, I can't help but wonder if he's just trying to cram square pegs into round holes, which makes for uncomfortable, and more often, unmemorable listening.
Still, two tracks emerge that could easily have been salvaged from the proverbial cutting room floor of his sophomore album. Taking extensive cues from the eerie yet aurally infectious The Present Lover, "Wanna Tell" and "Good To Be With" utilize collaborator Johanna Iivanainen's breathy voice as best as Luomo's cut-and-paste sample approach to vocal placement can. While both boast pop appeal and some glimmers of brilliance, neither come close to delivering the goods, particularly when compared to the epic breakdowns found on "Talk In A Danger" or "What Good."
None of these nine new tracks pack the poppy wallop of his previous recordings, though not for lack of trying. Unless he can find some new exciting avenue to take, it might just be best to retire the Luomo project altogether after this anticlimactic record.
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