This album is heavily dominated by the rhythm section, to the point where the trance-like drumming is often the focal point. It’s not some kind of dull tribal drone either, the beats are far too unusual and addicting. Calling the syncopation on this album creative is as much as an understatement as saying Escher was creative with drawing stairs: the repetition always seems to be progressing onward. Bass lines are the other side of how the band flips the usual order of the instruments. They fill in the melody for long stretches, weaving into the drum’s rhythm and pulling the listener into the low-end of the mix. Vocals and guitars don’t sit idly by however, they pop into more traditional melodic roles, and also often accompany the music as trippy echoey ornaments.
If it wasn’t clear from reading about the album’s hypnotic qualities and rhythmic focus, this isn’t the kind of release that has many riffs to speak of. Still, there are a handful of incredibly strong moments in the guitar work. “Hypnotisoitu viharukous” for example has a really cool interchange between a fast riff and a slower chord progression. Both parts are somewhat stripped down versions of what the bass is doing, but an octave higher (see, I told you they flip things upside down). The guitar’s contribution makes a huge impact though because it add a harsher and chaotic element to the melody, which is then taken to the extreme in the song’s effects laden outro. It’s a role the effects play really well throughout the album in how they always fit just right into the composition rather than sticking out like a guitar player just screwing around with a fancy new effects pedal. See for example how all of the howls, beeps, and noises fit into the earlier part of “Vasemman käden hierarkia.”
Some exceptionally cool bits are worth pointing out individually. On “Lahja” rhythmic interaction between the strings, the xylophone, and tom drums is nothing short of stunning. It also shifts the song’s flow in a really intriguing way when the xylophone’s chimes go from a 4/4 to 6/8 feel, a simple touch that adds worlds of interest. The way that “Vasemman käden hierarkia” swings back into the earlier motif at about twelve minutes in by incrementally adding drums, bass, and vocals to the flanged tremolo-picked note is absolutely brilliant. It simultaneously brings back the song’s earlier mood in the bass melody while also creating a new feel to keep the track engaging. Then closing it off with cracked out yelling, screaming, and eventually plain old fire noises really drills home the song’s thematic progression.
Värähtelijä is a hell of a ride because it has such an earthy rhythmic side to its vast spacey sounds. Even the relatively weaker track Havuluu is really strong, it’s repetitive two-note theme mutates into a howling mess that’s so unhinged that you have to love it. The album’s mellower sections and the tame closer “Valveavaruus’s” drum free parts are stern reminders of how compelling overall pulse is. I remember the band’s debut release having two really powerful tracks, here it’s all seven. Oranssi Pazuzu abandoned a lot of the traditional rules of making metal, and still crafted a top notch release.