As Darwin theory proves evolution is necessary, it is what moves everything forward. Evolution is good for individuals, and it is also good for a next multi-group level. It is then also good for metal bands, especially if they carry avant-garde in their DNA. Finnish Jumalhamara certainly morphed completely away from where they started. Yet if The Black Coming (an accompanying review) made some sense to me with its not much happening ambiance, then La Strada, bearing the label of soft acoustic rock, did not. In fact, both releases are uneventful ambient drone, but if with The Black Coming I could relax and float, then with La Strada I sat there befuddled, waiting for the 12” to play out and be over.

The release can come on the single-side cassette tape or as a two sided 12” MLP. There are technically song titles, with each A and B sides bearing a pair of them, but what they are is totally irrelevant, since nothing ever happens, as seemingly on The Black Coming, but there is no flow to nothingness on La Strada either. The heart begins to quicken a bit at some point, and female ethereal whispers enter the frame on side A somewhere mid-way. Almost towards the end of Ecstasy in Blood – A Ballad there is a change in the rhythm, some pneumatic claps can be heard, and there is even a keyboard note or two, but this is all not very convincing. Early Aesma Daeva is way less known, it is something what some moments on La Strada sound like, but Aesma Daeva is way better.

Side B has a semblance of a quiet church organ, starting with a little light theme, but brooding before too long. There is rain and hastening beat, pulsating and crackling fire, you can recognize their sound, but mental picture is not forming. Of Enlightment and Righteousness Pt. II has some desperate voice in it, and there is more distortion and chaos at the end, but it is all so disjointed and incoherent.

Add me to the column of the ones who missed La Strada message. I have a feeling I won’t be standing there alone.