Stories by

"Fantasiatango 2 is like a never-ending road movie, where the surrounding sceneries change quickly and everything is characterised by enthusiasm and a free atmosphere."

"Rubidium is a collaboration between the Tampere-based Black Motor trio and trumpeter Verneri Pohjola, and could be described as Finnish music in the classic sense. The rough soundscape on this album merges with soft melodies creating jazz that is at once barren and tender – just like the northern nature and mindscape."

"Korpijaakko is clearly at home with the musical possibilities of the guitar with the solo guitar sonata Kimberley (2006), a standout as one of the most remarkable works of recent years for solo guitar composed in Finland."

"It is easy to write about Sin Cos Tan as a kind of extension of Villa Nah, because of the analogue synths, drum machines and Paalosmaa’s voice drowning in melodrama. The truth is not as simple. The music is slippery pop that moves with mercurial flexibility, which makes it a kindred spirit to the nightly urban romance of The Chromatics."

There is something timeless about the music of the Orthodox Church – as indeed about the gilded icons, the noble ecclesiastical architecture and the scent of incense. The only instrument allowed in Orthodox churches is the human voice.

Only love and death can compete with nature as the most common topic in music. In the aftermath of environmental crises, the relationship between music and nature has changed radically. How can music influence our environmental consciousness and conscience? The music of contemporary composer Kalevi Aho and psychedelic rock band Hexvessel show in two distinct ways.

Rising jazz talent Linda Fredriksson brings her sax skills to the forefront in trios plus big bands, and finds magic in the moment of musical inspiration.

"Playing together for all these years has made these ladies a stunning couple – you can almost see their hands intertwining. The rhythm is incredibly tight with all its stunning syncopation and swinging backbeats."

"The work, with choreography by Kenneth Greve and Pirjo Toikka, was an immediate success. Obviously this was much thanks to Kantelinen’s accessible music, written clearly with people of every age and background in mind."