Regina: Soita Mulle (2011)

Regina son una de las bandas punteras en la escena Indie de su país, Finlandia. Ello les hace tener una personalidad propia que les lleva a mantener su lengua materna en todos sus temas. No entendemos nada de lo que cantan, incluso su musicalidad no es demasiado grande, aunque tienen su encanto. Este álbum no es su presentación, ni mucho menos, pues ya tienen un cierto recorrido a sus espaldas, aunque con este Soita Mulle (2011) puede que hayan llegado a la cima de su creatividad.
Soita Mulle es un disco que salta alegremente entre el Shoegaze de rasgos más ambientales (Haluan sinut, Jos et sä soita, Harjun takaa) al Chillwave (Lëpan aalloilla, Hui mun luo), con la misma naturalidad que del Pop más soleado (Mustavalkeaa) al más alambicado y sofisticado de Stereolab (Päivät vavulat). Aunque el mejor corte del disco, y por el que les conocí fue el tema que abre: Unessa, que quizás tiene algo de todos los componentes de los que os he hablado antes. Es una maravillosa canción con un aura que me recuerda al ambiente de las sofisticadas fiestas retratadas en el cine de los años sesenta. Si no me decís quién son, os diría que suena a Stereolab con otra voz solista. Impresionante.
Su paralelo más o menos cercano en la escena más conocida por nosotros serían una banda como School of Seven Bells, aunque como os dije antes, Regina tienen la personalidad propia suficiente para navegar en solitario, sin necesidad de comparaciones.

Regina – Soita mulle (2011) 

“That thing about a picture being worth a thousand words? Someone should remind Regina. The front cover of the Finnish indie pop band’s fourth proper album, Soita Mulle (Finnish for “Call me”), is adorned with a beautiful black-and-white photo (taken by Megan Kathleen McIsaac) of two people lying down in a pastoral setting. Unfortunately, the ugly and carelessly placed typeface obscures and, in effect, blunts the image’s aesthetic beauty. Obviously, the band has a need to claim ownership for the album’s contents, but the image on its own so excellently represents Soita Mulle’s sensual, arresting feel that it functions strongly as a statement of purpose. Largely, Regina are working within what many listeners will instantly recognize as the dreamy, limitless confines of shoegaze– only, their take on it is less staticky and obscured than the way today’s younger bands have approached the genre. Soita Mulle’s most impressionistic moments sound clean and deep– an approach similar to what stateside shoegazers School of Seven Bells did on last year’s Disconnect From Desire— providing space to wrap yourself within their compositions, rather than attempt to smother you with blistering, fuzzy noise.
This sound fits Regina like a glove, and the new look largely makes Soita Mulle their best record yet– admittedly, an easy feat. Since 2005’s Katso Maisemaa, the band’s toyed with various genres and sounds just close enough to occasionally mix and mingle– the cool allure of French yé-yé, snatches of downtempo dance music, Stereolab’s bouncy warmth. 2009’s U.S. debut, Puutarhatrilogia, marked their most consistent effort at that point, but Iisa Pykäri’s thin, power-bereft voice resulted in her surroundings sounding occasionally chintzy and under-produced. On Soita Mulle, multi-instrumentalist/principal songwriter Mikko Pykäri’s production hand is heavy on the lushness, resulting in something more full-bodied and robust in sound. And, the improvements that Iisa’s made as a vocalist are not to be overlooked: the album’s highlights find her dipping in and out of melodies, filling the air with her voice, and effortlessly unleashing torrents of Finnish syllables. When she lets out a sweet melodic sigh near the end of “Haluan Sinut”, you breathe with her, and that’s a good thing.
Of course, Regina being Regina, the band still does a bit of outside-the-lines genre exploration, and as on previous efforts, it doesn’t always come out well. On one hand, the piping synths of “Ui Mun Luo” gel with the song’s cosmopolitan shuffle; on the other, “Harjun Takaa” seems an attempt to embrace upwards-moving anthemic melodic structures, ending stuck on the tarmac instead. The misses scattered between Soita Mulle’s hits make the album drag as a front-to-back listening experience– and this record is nine tracks in under 35 minutes. Forget the cover art: the real tragedy about Soita Mulle is that Regina grab the brass ring of consistency for the first time in their career, and with excellent results– they just can’t seem to hold on the entire time” (

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