02. Lohduton Uni (5:05)
03. Hyvä Ihminen (4:34)
04. Ajatuksia (5:04)
05. Trimalcion (3:18)
06. Hideki Tojo 1884-1948 (2:38)
07. Laulu Ystävälle Varjojen Maassa (3:46)
08. Valolta Suojattu Sydän (2:35)
09. Labyrintti (6:19)
10. Pakoon Maailmaa (2:58)
- Harri Saksala / vocals, accordion, harmonica
- Eero Lupari / guitar, voice
- Heimo Holopainen / bass, voice
- Edward Vesala / drums, gong, tabla, bongo, vibraphone, flute, voice
The album was reasonably succesful in Finland, but soon after releasing the album, Apollo was already gone. Edward Vesala went on to become one of the most respected Finnish jazz musicians, and Harri Saksala later appeared as the lead vocalist on KALEVALA's excellent debut album "People No Names". I do recommend the album for those who are interested in the early days of prog (assuming you can find it..), but it's not the missing masterpiece you've been searching your whole life.
This obscure Finnish band features three distinct songwriters, which explains the fragmentation of the material on this self-titled effort. It starts with "Symboli", which is primarily stoner-rock, and on a secondary level a bit progressive. On the other hand "Lohduton Uni" is primarily progressive (the symphonic kind), and on a secondary level vaguely psychedelic. "Hyvä Ihminen" is almost easy-listening (it could feature in a Carpenters album), without saying that it's bad. "Ajatuksia" returns to stoner-rock, in other words to acid-hard-rock, and is overall a bit doomy, as if a distant Northern cousin to Black Sabbath. "Trimalcion" steers course in a dramatic manner: it begins as an ethnic ritualistic sketch (flute, drums and ambiance), but proceeds with an exuberant tropicalia/ tribal samba, and then reverts to the opening ethnic ritual, to finally end as some sort of jazzy stoner-rock. Apollo are on to something here.
By "Hideki Tojo 1884-1948" it's obvious that their specialty is stoner-rock, while the singer sounds like a crazy pastor sermonizing to decadents. However, "Laulu Ystävälle" also shows they have a knack for the dense symphonic atmosphere. After such intrigue, the jolly "Valolta Suojattu Sydän" sounds totally minor. Thankfully another highlight comes with "Labyrintti", whereas an ambient-improvisation intro is followed by a jazz-influenced jam-based theme, only for more furious soloing to follow. Nice stuff. The closing "Pakoon Maailmaa" is more soft-rock, albeit elegant. The icing on the cake on what is a decent and eclectic album are superb performances on drums and keyboards, courtesy of Edward Vesala and Harri Saksala respectively.