melancholic

Boo-ya!

What combines Kate Bush, Faith No More's Evidence, Phil Collins, Jan Hammer, 2. Maanantai and contemporary R n' B music?

Our new track, that's what.

Winter 2010 has been a pretty thorough one in Finland. Especially snow has been quite plentiful and has caused quite a bit of chaos in people's everyday lives, so we decided it deserved a song dedication from us, so we give you a piece of orchestral goodness: Fade To White.

Welcome to a new year of Viola Music Club, y'all!

To acknowledge the huge fact that we're transferring over to a whole new decade (and to put in our 2 cents into the debate whether it's "the two thousand tens" or "the twenty tens"), here's our highly topical and current track about... the new decade, the 2010s!

Season's Greetings to all you Music Clubbers!

As December is stalking upon us, it's time to get merry! Thus we present to you a sequel of sorts to our 2004 Christmas 7": This Year It Will Be Different!

Hi everybody!

To conclude our autumnal triptych of holy melancholy, we present to you a track by the name of No Connection, which might lyrically be one of the darkest Viola tracks yet, so it's fitting we're releasing it on All Hallows' Eve.

Dear friends,

As promised, we're continuing along the fall-time in melancholic tunes. Not as deeply wrapped in seas of sound as last month, but in distinctly autumnal tones.

TOMMI: Yet another proof of just how essential Esa "Espe" Mikkonen was to the early Viola-sound. The bass-riff here doesn't just support the song - it IS the song.

Some pretty cool mountaintop guitars going on in this track as well. Thanks to Neil Hannon from Divine Comedy for the inspiration for the multiple vocal tracks in the end. We actually started calling this multi-layered vocal-arrangement technique as "Hannons" at some point. "Should we put some Hannons on this?", "Of course we should!", "Right!"

You can never have too much Hannons.

TOMMI: The first song on our first long play album. Probably for many people the first (and for some, the last) Viola-track they've heard. The string intro pretty much sets the tone of what's to come - home made dramatics all the way.

Henkka (R.I.P., bro!) loved playing this whenever he'd DJ at clubs. It was always kinda cool hearing it in a club PA. The sound sucked really bad, but Henkka used to compensate for it by blasting the track at 1000 db, which always kinda helped making it sound kind of punchy even if it was distorted as hell. He'd always play it so late into the night it didn't really make a difference. People were just blissfully dancing on with imminent danger of permanent ear damage.