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I’ve heard you can get a free bucket due to People’s Champion release and my mind went WILD

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i added my thoughts to the takavoltti lyrical analysis here but today i want to talk about why i think takavoltti is one of käärijä's most finnish songs ever.

this got a bit long, so just so you know what to expect going in: what i mean by most finnish is that there are references and tone of voice that are very specific to finland, there is complex use of the finnish language AND there are melodic/musical choices in the song that sound very finnish to me.

okay, here goes.

the dialogue that opens the song is already a sort of key moment to this finnishness of it all. when he says "emmä tiedä, kolisee jos kolisee, mut mun on pakko sit koittaa vetää tosi matalalla" he is doing a bit of a voice but more than that, he is talking in a way that is not quite his. his inflection, the rhythm, those are not natural to him or his dialect. you can hear it particularly when he says "koittaa vetää tosi matalalla". i don't know if it's at all easy to hear if you're not finnish, but it's not.. a serious voice or tone. the other two voices, one of them is modified to be high and the other talks like a sports announcer. the whole scene is quite comedic and it's a very specific genre of comedy that is very finnish indeed. it's also the type of thing he has been doing since always. (EDIT: OKEI MORE CONTEXT IN A REBLOG HERE)

funnily enough, you guys know köpi kallio now, the therapist in skit and autiomaa video? yeah köpi and his long time partner in crime viki are good examples of this type of humour i would say. they have their own podcast/show called viki ja köpi show but before that they were radio hosts and have been working together for ten years. the character voices and the whole vibe of the scene in the beginning of the song is very viki ja köpi to me, very ylex type comedy (yes ylex the radio station who did the ruisrock interview who still isn't back from the war).

and the small comedy bits stay in there through out the song, and they continue to have the same delivery instantly recognisable as comedic.

and that isn't to say the subject matter can't be serious. i think, again, this is something that feels inherently finnish to me. other finnish people feel free to chime in because this is hard to explain, but our culture is one where coping through making light of things is quite normal. and our sense of humour tends to be on the darker side, at least if you compare it to the american style of comedy that has taken over globally. so to make a song about there being too many demands on you and how you have a problem with setting boundaries and agreeing to insane shit, but to do it by interjecting the song with jokes just idk.. it sits in our culture lmao.

i honestly don't know how to explain this better, but quite dark comedic elements like this (after all he gets properly fucked up in the stunts it seems) in a song with a serious subject matter is something we've been doing for decades in this country (juice leskinen, for example) and it is something so loved by finnish people. we love a song that is just fucked up on multiple levels. käärijä is just adding his own style to this cultural history.

okay, onto the language.

the verse opens with "tekevälle sattuu" which is a finnish proverb.

quick finnish lesson: the word sattua in finnish means both to hurt and to happen. the word tehdä means to do but tehdä kipeää means hurting. like.. now that i think about it tämä tekee kipeää = this is doing (me a) hurt is valid and correct finnish lmao.

tekevälle sattuu, the proverb, actually means "things happen to those who do" but he is playing with the different meanings here, because he goes on to say "ain sattuu ku tekee" which can both mean "things always happen when you do" or it can mean "it always hurts when you do". then he goes on to say "ku tekee, ku kipee, ni kipeetä tekee" which is once again playing with words, because kipee here means both pain but also being sick. "ku tekee, ku kipee" would translate as "when you do as if you're sick" and "kipeetä tekee" means that it hurts.

so to recap (i'm not trying to provide a smooth translation, but highlight his wordplay:

tekevälle sattuu = things/pain happen to those who do [things]

ain sattuu ku tekee = shit happens/you get hurt when you do [things]

ku tekee, ku kipee, ni kipeetä tekee = when you do [things] like you're sick [in the head], you get hurt

so this is all to say two things: he's using the finnish language in a very clever way that really only becomes clear if you know the language and all of these idioms and proverbs. and also that he is very good at what he does. it has taken me four paragraphs to explain 13 words.

and he doesn't even end there. "oon yllytyshullu, ain hulluksi yllyn" is more play on words. jesus, jere. okay guys, stay with me.

yllytyshullu i explained in my previous analysis, but recap: yllytys means incitement and hullu means crazy. yllytyshullu is someone who does crazy shit when prompted.

"ain hulluksi yllyn" here he is using the word yltyä which is the same root as yllytys, but yltyä means usually more like.. to intensify. (for example: sade yltyy = the rain is getting heavier, or tuuli yltyy = the wind is picking up)

so to say hulluksi yllyn, he's saying like.. i let myself be incited and/or i always take it to the max, to the point of crazy.

and then he uses very clever rhyming words: "ja tää hullunmylly on kylmempi kylpy". hullu means crazy, mylly means mill, hullunmylly is basically a hullabaloo.

as you can tell, all of this is like bordering on impossible to translate accurately into a smooth translation. and that's just the first verse, but i'd be here all night if i explained the whole entire song ����

and this to me is a very clear sign that no matter what sort of an audience he has internationally, he's not compromising on his language. and i find that admirable and, as a finnish person, very comforting too. this song is sort of reassuring, like he is reinserting himself very firmly into finnish culture, with the language and the comedy that do not translate very well. 

and if you look at the pre-chorus and chorus, the specific references keep coming: calling him kärtsä (finnish people have a lot of nicknames for him), "hyppää kybäst pommi" the slang use of kybä to mean ten meters, he mentions duudsonit (the dudesons) and he mentions jorvi hospital. all of these feel like he is signalling to a very finnish audience. (also "oon syypää sun hymyyn" could count as a cheek reference, cheek used to be like the biggest rapper in finland).

okay, time for melody and music speak. i only have one simple point here: melodically and musically speaking that has to be the most suomi iskelmä chorus i've heard from him. ever.

you could take that melody and insert it as the chorus to like any song on iskelmä radio. iskelmä is a finnish schlager music genre. kind of impossible to describe but something that finnish people will instantly recognise. the opening, with the piano synth could also open an iskelmä song.

very suomi, very iskelmä.

so.

all of this is why i think takavoltti is about as finnish as it gets. a suomi iskelmä about having serious issues with boundaries that uses clever finnish and paints a comedic picture of a banged up black-eyed käärijä who has dislocated his shoulder but is still showing thumbs up is like.. so much finnish condensed into three and a half minutes.

i know not everyone thinks the song is hilarious but i do. it's both hilarious and very serious and that's how we like it here.

and of course the fact that there is an "ai vittu" in there. we like that too.

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#think about this before you ask for yours

Heartbreaking

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I live for moments like these - the dopamine rush is so addictive when you capture everything just right. I absolutely love this hobby. 💚💚💚

Birmingham, 24.10.2024

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Käärijä for Apu Magazine 30.10.2024

Photos by Hannes Paananen

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did you see him close his eyes and mouth a kiss to us in the flashing intro lights to ruoska?

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Disabled Access + Queueing

Since there has been a concerning amount of ableism coming from fans this Eurotour, I want to explain how venue access works in the UK (especially since I will be having it for my next gig after Medical Issues™ at London).

UK venues, by law, have to provide reasonable accommodations for their disabled guests. This is typically seated tickets, or a dedicated area or balcony with step-free access for those with mobility needs, especially those in wheelchairs or scooters. However many venues, including several on the UK leg of Käärijä's 2024 tour such as Heaven in London and Chalk in Brighton, have extremely limited tickets for these dedicated disabled spaces, so reasonable accommodations are provided in other ways - most commonly with early access into the venue and priority for barricade.

1) Why someone would need early access to the venue?

Needing assistance to get from the doors into the main venue area, including if you need someone to navigate an alternative route such as finding a lift or ramp.

Avoiding the rush of people entering at doors, especially if fans are likely to run/push to get barricade, for your safety.

Being unable to stand for a long time in a queue when lining up for doors.

Needing to access a specific area of the venue, whether this be a dedicated space for disabled guests or a place at barricade.

2) Surely if you're able to stand at barricade, you'd be able to stand where-ever? Other than the view, what do you get at barricade that you don't get elsewhere?

Barricade provides something to physically support yourself against that you likely won't find elsewhere in the venue. This can both be for fans who need to use a support at all times, such as those with chronic pain or mobility needs, or for those whose disability means they are particularly liable to collapse/faint/become otherwise weak or unable to support themselves who would need something to lean against in case that happens (such as yours truly, who had a cataplectic attack at London 1 and had to be dragged through the crowd by friends to reach a wall).

Barricade places you directly in front of staff. If something does happen you will be seen straight away and do not have to worry about flagging someone down.

Barricade provides a clear space directly in front of the stage to leave through. Some venues have barricades than can be moved/opened, some do not. But it is still easier to get someone out of a gig that way than by trying to make a path through a crowd who is unlikely to hear/take notice of instructions.

3) But isn't that unfair on the people who queued up for barricade?

Perhaps. Perhaps not. But ultimately, venues are not beholden to fan-made queues. If they have their own policies in place - which are usually dictated by UK laws - they will follow said policies. If you need to know if there is disability access, contact venues ahead of time like disabled fans do.

At the end of the day, a non-disabled fan can choose to arrive hours or even days ahead of a gig for a good spot, but a disabled fan cannot choose their disability.

4) I'm running the queue and I'd happily give a disabled person a higher number in the queue if they told me about their condition.

Good for you. Not everyone would though. Plus, you are probably a stranger and disabled people don't owe you shit in terms of disclosure.

Also, see question 3.

5) If someone is *that* disabled, surely they should just stay at the back of the venue/not go to a concert.

Says who? Disabled fans should be allowed to have the same experience as everyone else at a gig without compromising their safety/wellbeing.

6) I'm not angry at disabled fans, just at the lack of communication from the venue.

If that's the case, don't take it out on disabled fans. Don't question their disability, don't accuse them of 'not being that disabled' and don't tell them that if it were that bad they should go to the back of the venue. Yes, these are all things people have been told this Eurotour (mostly at London 1 and one instance (that I know of) at Bristol).

Also, see question 3.

7) But I wanted barricade.

And I wanted a working body but we can't all get what we want. If you can only enjoy a gig by getting barricade and second row is that much of an issue for you, that is a you problem, not a disabled people problem.

It is so horrible talking with other disabled fans and hearing the horrible ableist treatment some of them have been subjected to. It was nice to see that ableism surrounding queueing/disability access was called out more than last year, but it shouldn't need talking about at all. Hopefully that will improve in the future.

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do whatever you want with my pics, but if you remember that I took them, please tag me

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do whatever you want with my pics, but if you remember that I took them, please tag me