XL-YHTYE TÄYTTÄÄ PYÖREITÄ VUOSIA!

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Jukola
by Scott Andrews (www.allaboutjazz.com)

A four piece band from Finland, XL's second album Jukola showcases a breathtaking depth of sonic collage in eleven songs of melodic, instrumental rock. Jukola mixes throbbing dance beats with rock and jazz passages, spacey ambient sections with driving rock riffs, live instruments with electronics and processing, all framed in eccentric arrangements with dynamics that range from whisper quiet to rock clamor.

Jukola sounds immaculate, with sonic textures ranging from traditional guitar, bass, drums, and keyboards, to electronic percussion, effects, samples, and rhythmic vocal chants, to live saxophone and a string quartet. XL wields this broad sonic palette with subtlety and restraint in sparse arrangements of calm sections, such as the trio instrumentation of the middle section of "The Dream Master." This section gradually builds with brief accents from the string quartet and a synth bells patch. Where appropriate, the music rages with intensity in luxuriant arrangements, such as the closing section to the title track with layered guitars and strings.

Although the arrangements and sounds leap from one to the next with a quirky originality, the melodies often follow predictable patterns, such as the guitar lead at the end of "The Dream Master," the saxophone in "The Palace of the Great Vizir of Angst," the guitar progression opening "Markiisi Humus," and the guitar chords in the closing of "Jukola." The easily accessible melodic fragments do keep the focus on the intricate arrangements, but melodies as unconventional as XL's sounds and arrangements might create an even deeper and more challenging listening experience.

XL demonstrates a mastery of sonic development and placement on Jukola, mixing the traditional and the most unusual within conventional melodies.

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Surreal
by Matthew Wuethrich (www.allaboutjazz.com)

A refreshing musical breeze has blown in from the north, characterized by strong melodies, subtle electronica, and unashamed love for grandiose themes and arrangements. Finland's XL has been developing for 10 years and on their latest release Surreal they make an intrepid statement. In a musical era obsessed with introspective abstraction, XL prefers exuberance and clarity. XL creates bold 21st century fusion, carrying on the broad-minded tradition established by 70s fusion giant Weather Report.

Like Weather report, XL composes with one ear to pop sensibility and the other to the endless possibilities of today's sonic palette. "Oktober" kicks off with pulsating bass and insistent drumming reminiscent of early U2. Then comes a delicious piano hook, to which guitarist Jarmo Saari adds a wash of distorted chords. But XL does not beat the hook into monotony, instead Arttu Takalo develops its melodic and coloring possibilities in extended piano passages and on midivibes. "Sir Real" and "Surreal" overwhelm like two movements of a symphony compressed into a total of four minutes. The pieces combine sampled spoken word, shifting time-signatures, rapid-fire drum'n'bass fills, and stacatto strings as a foundation for the colorful fugue-like arrangement of the orchestra. XL layers these forms so skillfully they make this clashing of styles seem perfectly natural.

Saari and Takalo compose and/or arrange every piece on the album. In XL and on last year's "A Tribute to Finnish Cinema" Saari displays a fresh voice and attention to detail. He draws from a myriad of musical sources-fusion, rock, movie scores-and his playing contributes to the whole of his compositions, never dominating. "Toledo" utilizes a skittering electronic beat and solid low end to anchor a wistful melody line stated by the XL orchestra and midivibes. Eventually the build-up gives way to a frenzied rock anthem, replete with pounding drums, howling guitar and a wailing police siren. Yet Saari and the rest of the band is not tempted into indulgent soloing; they stay in the framework of the composition, knowing their discipline communicates their intent.

Cutting through "Toledo's" wall of sound is a voice which implores: "People, we must learn to open our hearts." Herein lies XL's intent. They strive to make majestic, positive music and they succeed with earnest sentiment. One does not detect pretension in their work, simply a desire to inspire and elevate people through music. Refreshing indeed.