Time for some anti-music. This split unites two equally unknown Finnish bands; the avantgarde solo-project Lörsson, and the noise-group Grindstroke.

Lörsson has made a handful of releases and taken part on a few compilations (some of which came out already 24 years ago), yet this is my first time hearing the project. Just to give you a glimpse of what we're now dealing with: "Korso, Kerava ja Järvenpää" is a couple of minutes long song with a three-chord banjo-riff, muffled male vocals repeating the same sentence over and over again, and then there's some whistling and distant metal-clang. Song two has a looped accordion-clip topped with random flute-notes, and ends to Lörsson shouting. For the third song Lörsson has recorded himself peeing. The last two songs are again done with a banjo-like and vocals, and the last song has a mis-played beat as well.

The soundscape is lo-fi and thin, and the overall volume level is really low. With the exception of the Nattefrost-cover, the covered songs have little to nothing to do with their original versions. Music like this is pretty much beyond reviewing, for obvious reasons, so I'll just write down my thoughts based on a gut feeling after a few repeated listens.

I found the songs interesting. The first one is tad too silent and monotonal and thus annoys me the wrong way (intentionally, most likely), though. They're immature, have a challenging soundscape, and are executed clumsily on purpose, but sometimes music like this is needed in order to cleanse one's palette of unnecessary expectations and fixations. To my surprise, Lörsson's careless and provocative attitude resulted in some accidental strikes as well; "Kylmän Sodan Valssi" and "Kari Peitsamo..." work really well in their "stupidity," and the opener has some interesting metal-sounds in the background. I wasn't really prepared to say this, but I'd actually want to hear more material from Lörsson.

A perfect set of songs to piss of people with sophisticated tastes and/or a terrible hangover - along with getting yourself agitated.


I haven't really listened to Grindstroke since their first two releases that came out back in '05 and '06. It's not because they would've been bad, but just because I plain forgot the whole band. So, now it's time to see if I've missed something, or whether I should forget them again.

"Hautaräjähdys" opens up this seven-minuter with a wall of manipulated distortion that's swallowed some shouts, beats and digital bleeps - or either my mind's just imagining to find those things amidst the noise-blur. The following song delivers a greater amount of clarity and even calmness through a noisy bass guitar, improvised drumming and digital bleeps, the latter of which serves as the leading element in the remaining songs. The mass of digital bleeps, bops, and squeeks creates an unpredictable mass of sound that is more about confusion and chaos than ear-damage. Add in some samples and bass- and drum-work, and you might have a hint of what this swirling mass of lunatic experimentation is about.

Similar to Lörsson, Grindstroke isn't the most serious band around; their songs have a feel of fun and entertainment, and some sounds and samples were probably employed for that reason only: they sounded fun. It is still clear that the band is pretty capable in their craft, and they have a vision of what works in their expression and what doesn't. The brief songs don't need a long attention span and, similar to Lörsson's side, they can easily be used to irritate people. Personally I'm more fond of organic and hand-crafted sounds in noise, but I still found the six songs enjoyable and even meaningful despite their digital basis


The visual side brings the two bands together; annoying colourscape, sloppy execution and artistic elements. Take it or leave it. No grade will be given, as this split's value is fully dependent on the listener's own subjective experience and his/her mindset on humour, noise and music in general.

x / 10