Αποθεωτικό review από pitchfork…
Το 8.2/10 του pitchfork.com (Andrew Gaerig), στο σπουδαίο «Vainajan Muotokuva» των Eleanoora Rosenholm:
«Think you might’ve had Fonal’s M.O. figured by now, didja? Fractal, often improvised electro-acoustic noise; shades of spirituality; collectives and excitable art-children. The Finnish label’s new project, Eleanoora Rosenholm, shatters all of those preconceptions save the final one, as a trio of veterans and a handful of friends convene (even when taking a singular name and writing bizarre first-person Dear John letters, Finnish artists travel in packs) to craft an art-disco rollercoaster that defies much of the rest of the label’s catalogue.
Vainajan Muotokuva opens with the attention-grabbing «Musta Ruusu», which immediately springs the album’s unexpected list of touchstones: ABBA, Madonna, Kylie Minogue. Disco influences also abound and they are «Italo-» in as much as they are born from polished, attentive programming and not, say, funk or rock’n’roll. There is a tendency to mentally smooth over albums sung in foreign languages– Noora Tommila’s unfamiliar syllables, however clearly they are articulated, seem to come unlodged from her throat in indefinable clumps– but it doesn’t take long for Vainajan Muotokuva varied stylistic conceits to reveal themselves.
The rumbling bassline and slyly rhythmic chimes of «Kopiokissa» seemingly snuck out of Massive Attack’s sequencers. The frantic kit-work and «bum bum buh buh»‘s of «Kodinrakennusohjeet» expose krautrock roots. «Japanilainen Puutarha», which contorts around a click-clacking snare, monosyllabic guitar line, and woozy synths, is almost Timbalandian in the way its busyness rises from an economic arrangement. There’s also «Pyhäpietarinaukio», which spends two minutes on an ambient think-piece more akin to Fonal’s natural order, but its dark serenity explodes into «Kiltti Vai Tuhma», the most blatantly pop-baiting track on Vainajan Muotokuva (possibly in the Fonal universe). Burly closer «Maailmanloppu» steals the Transylvania-ian bells from the Smashing Pumpkins «Disarm» and rolls them into a jerky, stepping bassline, paving the way for a choir-like group chorus that stands as the most ostentatious moment on an album full of idiosyncrasies.
Despite the bands and styles cited above, Vainajan Muotokuva is only nominally a dance or disco album. At their most propulsive, during «Maailmanloppu», Eleanoora aren’t going to move a lot of sneakers. Vainajan Muotokuva is a headspace tempest, but one that is distinctly foreign. Even as repeated listens uncover familiar modes and styles, Tommila’s melodies remain windily Scandinavian. Any familiarity or placidity brought about by the influences in play here is frequently and probably intentionally interrupted by jarring, ill-fitted sound effects. Still, it is comforting to pronounce the album titles phonetically and to hear them repeated during the song– as on «Musta Ruusu»– because it reassures your brain that these are the type of songs– pop songs– in which the title is used as a refrain.
Vainajan Muotokuva, even when playing genre hopscotch, never feels like the work of a collective, but rather that of a vocalist and a particularly astute programmer, à la Giorgio Moroder or Maurice Fulton. These slight subversions of precedent help to define an otherwise slippery album: salty Euro-pop, shiftless disco, communal focus. Vainajan Muotokuva stands as an outlier for Fonal musically but it rather perfectly embodies the label’s spirit of exploration.«