The teenage girl-themed album Flowers in a Plastic Bag was born in the home studio of Sanna Klemet and her partner, Pekka Tuomi, who is familiar from the band. The natural result hits, throbs and pulses admirably fast, writes critic Aleksi Kinnunen.
Litku Klemetti: Flowers in a plastic bag.
Creative Records. ★★★★
When domestic indierock heralds Litku Klemetti released their first sonic change single and information about an upcoming album last summer, the enthusiasm was immediate.
Sanna Klemetin with three post-breakthrough albums, the band has achieved almost everything imaginable on the Suomi-Indie field. The band has been able to be named the most significant band in the domestic nostalgia rock wave, which has become a phenomenon in the last decade.
Appearing on Friday Flowers in a plastic bag is Klemet’s captivatingly successful leap from guitars to the world of disco, synthesizers, and concoction, but no detachment from the discomfort of the record is hardly: the familiar shabby and slickly punchy, popping staring about four decades ago pierces deliciously elegantly constructed disco tones.
For comparison can raise the turn of the 1970s and 1980s Mona Caritan, to whom Klemetti made an honor with the album single. The album’s vibrant plastic-sparkling sound and hazy-rolling discs shimmer consciousness full of views of carpets, yellow-orange wooden furniture, and CRT aerobics programs.
Flowers in a plastic bag was largely born of Klemet and the band’s guitarist-keyboardist and Klemet’s unmarried partner Pekka Tuomen cooperation. Despite the machine rhythms, craftsmanship and analog instruments are heard throughout – it’s not about the day’s laptop music. Tuomi has built some of the instruments himself. The guitars are no longer heard on the side.
Jyväskylän the album, recorded in a home studio, beats, beats and pulsates admirably airily, even though at times immersing itself in the dream of beauty. Tears of the boys the song changes directly in the beat to an enchantingly trailing and twisting one Sun 10.30 cleaning song.
Klemetti has previously shown a skilful sense of melody and the ability to build compelling pop songs. Although the power of novelty rises from loose hits and seductive sound instead of loose hits, there is enough blade and gripping surface in the songs, so to speak.
Flowers in a plastic bag is, according to Klemet, a “teenage album for girls”. The songs echo with admiration, a dream, boys, sex. “Sex, sex, sex, it rotates in the mind but” Klemetti declares in his returning to early or brochure memories On a large sex bike. The result is reminiscent of a child’s subconscious time revealed in a TV competition Jonna Tervomaa.
Instructions for life the bleeding punk spirit Google Earth Rock rotates completely irresistibly in the wake of the closing time trip and near nostalgia: “I set out to wander the world, I set out with Google Earth to wander the world.”
Klemetin according to the disco does not manifest a change of direction, but is more of a single disc revelation. A similar fresh throw should be hoped for in the future as well.
If you follow the disco-influenced album of Spice Girls last autumn as a continuation of the work, the disco boom of a foreign hit pop can be carved into a strange fun Finnish retroindie. What next, Jukka Nousiainen drink plate?
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