Review Summary: Unbalanced on a tightrope.
Let’s address this point right from the beginning; Korpiklaani have always had one primary concern when it comes to creating their brand of upbeat folk metal, and that simple priority is
fun. With their abundant use of lyricism focused on partying and drinking, this Finnish forest clan have consistently aimed to produce albums that were enjoyable and interesting if little else. While certainly not the most innovative collection of musicians to spring forth from the folk metal sub-genre, implementing a variety of real folk instruments and blending in Finnish humppa (similar in style to polka) has allowed the band to continue creating fast-paced folk tunes that carried the biting edge of metal.
Ukon Wacka diligently upholds the aforementioned Korpiklaani traditions, opening with the jaunty ‘Louhen Yhdeksäs Poika’, which immediately establishes a light-hearted atmosphere, introducing the album almost too honestly as the same feelings elicited by the opener are essentially continued throughout the albums run-time. Some may consider this a bland approach and, on occasion, this proves to be a fair assessment - however, there is still plenty of variety from song to song. Moments such as the intriguing folk-filled segments interspersed throughout the album, including the introductory minutes of ‘Tuoppi Oltta’, enhance the affair notably, while repetition and a lacklustre performance from the “metal side” of Korpiklaani tarnish the experience somewhat. Disappointingly, the fractured balance between the bands two prevailing styles is apparent almost immediately. Grating power chords wreak havoc behind tranquil folk melodies for an alarmingly large fraction of the albums length. When the guitarists do in fact attempt to become interesting instead of merely tumbling along, the band experience moments of greatness.
Ukon Wacka’s single ‘Tequila’, while an obvious attempt at creating mindless party music, contains segments in which the guitars and percussion in particular step up and deliver some of the best performances on the album. Other notable instances include the vocal work and speedy humppa influences on the title track and ‘Varrinpolkka’, respectively. Amidst the enjoyment, however, still exists a number of problems. The songwriting varies greatly from competent to formulaic. One need only refer once again to the albums single in order to experience repetition. The vocalist also claims his fair share of monotony, rarely experimenting and instead relying on somewhat tiring husky shouts and chants. His style however, while brash, has a certain archaic quality to it which somewhat compliments the music and the theme of the band as a whole.
It’s made increasingly evident that the bands strongest asset lies in their folk elements. The overall success of the album can largely be attributed to the strong presence of fiddle, accordion and the occasional flute. Although they prove not to be as creative as say, the members of Eluveitie for example, these musicians still manage to churn out an impressive display of talent and in the process steal the spotlight from the remaining instruments. Despite the fact that it isn’t enough to convince ignorance towards the previous blatant issues, it is indeed enough to make this album a worthwhile listen. In the end, while the idea of a jovial, folk-filled festival of humppa alongside crushing metal certainly has potential, Korpiklaani still have a way to travel before their execution reaches the level of their peers.
