From beginning to end, there’s no arguing the aesthetical origins of Vuola’s first album Alouv; both in form and execution, this is undeniably a rock record, but the way it goes about presenting physicality and musical might in the way most rock releases do is surprisingly innovative. In songs like “Under Above Orion Venus Loves” and “Astra Lucia Omnia Ultra Verum,” Vuola concerns himself more with timing than he does brutish force, which allows for his depth, as well as that of the instruments, to take on a theatrical quality that I wish I could hear more of in pop music today.
The lyricism in this record transcends language barriers and doesn’t demand a translator to be enjoyed – truthfully, if you aren’t feeling the emotional grasp of Vuola early on in “Vapaa Uljas Lapsi Aamun,” you might not be listening to the music loud enough.
Everything here is meant to grip us, whether it be the muscularity of the music or the tuneful flow of the songs as we encounter them one after another, and of all the spellbindingly progressive works I’ve had the chance to listen to this spring, this is one of the first to leave me captivated both at the start and conclusion of the LP.\\
With every session this record is afforded, Vuola grows a little harder to step away from, as does his unique manner of stringing together pummeling rock rhythm with supple song structures that allude to neo-classical ambitions far more than they do anything within the western pop genre as we know it today. Alouv challenges us to think about rock in an entirely different fashion, and although it’s not the sort of album that I would normally go for, it features just too intriguing a collection of material for me to stay away for long.
by Jennifer Munoz