The second full-length from Finland's Paavoharju contains songs of astonishing variety composed out of voices, traditional instruments, field recordings, and electronics. Rather than evoking the pastoral qualities of its cover or the album's English translation, "A Song About Flowers of the Valley," the music within is more reminiscent of a dusty drawing room in an old house, forgotten by time but still home to its previous occupants.
Music sounding much like a forlorn music box lost in shadows opens the album and remains a recurring theme throughout, giving the impression of someone lost in nostalgic memories. This is further enhanced by the way the group uses various audio fidelity qualities in their music, with vinyl crackling alongside modern beats suggesting the past merging with the present. Perhaps the album's intentions would be clearer if I understood a word of Finnish, yet not knowing the meaning of the lyrics or titles didn't dampen my enjoyment.
The textural variety is a definite highlight, but the album's most important quality is the songs themselves. "Kevätrumpu" is far from the quiet, introspective mood that opens the album. It contains some of the same qualities but uses them to serve a catchy dance song instead. Similarly, both "Uskallan" and "Ursulan Uni" use modern beats as their backbone. There are some tracks that don't rely so much on contemporary technology to get their point across, like the chamber music of "Tuosku Tarttuu Meihin" or the album's sole traditional folk song, "Italialaisella Laivalla." What makes Laulu Laakson Kukista so enjoyable is how the band naturally weaves these disparate elements together.
At a little over a half an hour, the album barely qualifies as full-length. Usually that may not be such a big issue in and of itself, but it's a little problematic here because the album has some padding. While the eerie atmospherics tie the music together and make for a consistent mood, the constant revisiting of this theme, especially on the album's last three out of four tracks, detracts somewhat from the album's overall power. Fewer interludes and more songs would have been nice.
Even so, the album's structured material is captivating enough to override the languid intermissions. The album may be brief, but its haunting beauty is hard to forget.
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