Both cover art and preview capsule for Tervahaat promised introspective ambient music and that promise held true. After listening to an a capello male voices on Marrasvirsi, I was actually relieved the rest of Kalmonsaie had more musical content in it, since I didn't quite find the vocals fascinating, but the rest of Kalmonsaie can hardly be called dynamic either. In truth Kalmonsaie is more about grasping the imagery of hard coarse existence some place in Lapplandic North, than anything else. See the aforementioned cover art for visual reference. Darkwave avant-garde neofolk of Tervahaat is not full of synthetic artificial sound, but is instead set to clanging detuned melodies laid onto native percussion played by the hearth’s warmth inside a dwelling after a long day out in harsh winter conditions (title track, Huolainniekka). Huolainniekka may have the most pronounced smoothest flowing melody of all, but it is still beset by the sense of underlying unease. Both title track and Huolainniekka change abruptly midway. Title track goes into another a capello, while Huolainniekka becomes soft and soothing, something which can't be said about almost disturbing Lumelleluvattu, where persistently pressed keyboard jam supports the hoarsed yell. The closer Saattaja is a final description of Tervahaat dichotomy. Half e-bow downtuned pensiveness dissolving into another half of tranquil bliss, all preceded by tinny acoustics of Ylisilla, if you manage to grasp and appreciate the images Tervahaat conjures, Kalmonsaie will satisfy, but inner beauty it is really not.