PMMP

Line-up: Paula Vesala (vocals, lyrics), Mira Luoti (vocals, lyrics), Jori Sjöroos (music and production). Sjöroos wouldn't take part in any promotional or live appearances, and instead from day one there technically existed a second version of PMMP i.e. the live iteration: besides Vesala and Luoti, that's Juho Vehmanen (bass), Heikki Kytölä (drums) and Mikko Virta (guitars).

When PMMP first entered the public consciousness, the general consensus was that we were witnessing another flash in the pan who'd promptly disappear back to nowhere after their obnoxious summer hit had faded away from the airwaves. By the time their ten-year run finished in 2013 with a series of celebratory arena concerts, PMMP had transformed into one of the key artists of the Finnish music scene of the 2000s and one that many of those former naysayers now pretended they had always cheered for. They were a humongous public success with one of the best singles runs of the artists of this era, a must-see live experience that would be a riot at every festival they appeared, and a group lauded critically by both the critics and the music nerds - and one would be amiss not to mention just how important a band fronted by two women who were clearly best friends was for a certain demographic who finally had someone they could relate to. PMMP are not just a fascinating story of relative underdogs striking gold to a degree no one could expect, but their relatively short five-album run (plus a few extras) is one of the most exciting, interesting discographies of the post-millennium Finnish music scene.

But few, if any, of you will have even the slightest idea of who they were when you chose to open this page, so let's take it from the beginning.

The origin story of PMMP begins in the unlikeliest of places: in the 2002 Finnish edition of Pop Stars, the pre-Idol TV talent competition show for aspiring young singers wanting to be mainstream pop artists. Both Paula Vesala and Mira Luoti, the two frontwomen, took part in the season and made it past the initial auditions, but were eliminated soon after before the live finals took place (their "firing" scenes and criticisms are rather amusing in hindsight, citing lack of distinct voice and personality...). Thinking they shared the same energy, a talent scout from Sony BMG approached both women after the competition and suggested they joined forces to front a project the label was working on to effectively push the songs that had been rejected from being recorded by the winning artist. This plan took no time to fall through (for a very good reason) but Vesala and Luoti quickly became close friends and enjoyed the idea of working together. Luoti was childhood friends with the producer/songwriter Jori Sjöroos (we know him from elsewhere), who agreed to become the invisible third partner of the budding relationship. Sjöroos would take care of all the music, while Vesala and Luoti would bring the project to life with their immense charisma and firecracker personalities and took responsibility for the lyrics. Their chosen moniker PMMP means either "Paulan ja Miran molemmat puolet" - "both sides of Mira and Paula" - or "Paula Mira Mira Paula" depending on who you ask, with the similar branding to ABBA's name being an intentional nod (and an early sign of ambition, that's for sure). Because Sjöroos didn't want to be involved with the performance side of things, Luoti enlisted more of her old school friends and their mates as their backing band - Vehmanen, Kytölä and Virta became their band forevermore and a vital part of PMMP's history even if they rarely played on the records.

PMMP's debut single "Rusketusraidat" became a bonafide summer smash hit - despite (or because of) the fact that it divided opinions and intentionally irritated some of the audience (I'll go through it in more detail in the respective album entry). It had all the hallmarks of a novelty one-hit wonder and though the follow-up singles received enough airplay to be considered hits in their own right, the backlash was fierce from day one and few saw the two as anything but mindless bimbos (the 2025 documentary does a harrowing job about highlighting the sheer amount of patronising misogyny that met them in every turn) who'd never see another summer. But those who paid attention could hear traces that the future wasn't quite as predictable as that. Vesala, Luoti and Sjöroos were all big fans of 70s and 80s alternative rock in all its varieties from classic singer/songwriter melodies to the fury of punk and the gloomy and gothic post-punk that followed; some of these influences they'd cite in interviews, and a few cuts on the otherwise polished debut leaned towards them musically. The group also took no time at all to become a loud and fierce live act who became famous for being able to change how people thought of them in the space of a 30-minute festival set. I was a member on a Finnish forum in the early 2000s when "Rusketusraidat" was taking hold of the entire country and I remember a general music discussion thread where one forumite pushed back against a handful of people dismissing PMMP, suggesting that there was perhaps more to them than others would think.

PMMP would prove the naysayers wrong. Their subsequent pair of albums imbibed deeper from their inspirations, giving them an entirely new career trajectory as they built a whole new kind of momentum behind them. Arguably partly "inspired" by the backlash, PMMP were keen to prove everyone wrong - not by making big claims or going on a direct offensive by changing who they inherently were, but simply by revealing the side that had always been there but now making it so obvious that it was damn near a revelation. They were still rowdy lightning balls full of at-times bratty, sneery energy - but they were also muscular and angry, both aching and poignant, and often also both surprising and shocking in the curveballs they could throw. While Vesala and Luoti were both behind the band's lyrics, Vesala soon rose to be the primary wordsmith for the group and soon established herself as one of the key lyricists of this era of Finnish music. She could carry vivid imagery with resonant turns of phrase, knew how to both twist the knives as well hold a comforting hand out with her words, and the relatable everyday melancholy that now appeared throughout band's lyrics could easily pierce any defenses. That I'm somehow having to try to describe the quality of their lyrics in a different language to a largely non-Finnish speaking audience is bound to be a challenge, but what PMMP were saying became just as important as how they were saying it. Almost overnight they were a band that people began to take seriously, growing out of the shadow of their "Creep" and into their The Bends and beyond. The debut, despite its mega smash status, is in retrospect a false start and something you caveat if someone intends to listen to the discography chronologically. Why PMMP matter is what came in afterwards, particularly once they began to view albums as more than just collections of songs. Their untamed power could just as easily break doors as well as hearts, their impassioned deliveries seizing control of the space around the singers while Sjöroos' musical visions became more multi-layered and sprawling.

It says something about PMMP's power that I got into them at the same time everyone else was as well. Back when I still lived in Finland, I didn't pay too much attention to Finnish music and certainly not Finnish-language music - I was too much of a teenage anglophile, obsessed with my British artsy rock albums and the US indie rock to the detriment of whatever was happening in my own country, its language too familiar and normal to strike interesting to me. Some artists did break that barrier of young folly though, PMMP among them. The music came first: the radio hits were irresistable and even I had to admit it. Then when I started listening to the albums, the lyrics hit twice as much - the combination of these infectous, masterfully crafted hooks with these piercing lyrics was nothing short of excellent, as the grand emotions were delivered with the charm and swagger of pop and decorated with left-field arrangement ideas straight from the weirder corner of the Finnish underground. PMMP sounded like a whole lot of things thanks to their genre-fluid approach to making music, trying out different styles and sounds like outfits - because why should they restrict themselves to one single method of expression when it's their journey, and who could stop them anyway even if they tried? - but they never sounded anything more or less than themselves. They were fierce, exciting and evocative.

After a decade of active conquest, PMMP surprised everyone by calling it a day while they were still on top. Behind the scenes, the group's twenties spent together had begun to show growing pains: while the arguments and disagreements were kept strictly within the inner circles (the public had no idea), their increased prevalence meant that the group agreed to split ways while leaving behind a legacy worth remembering, rather than throwing it away with one forced and dysfunctional record after another. Solo albums followed (Vesala in particular continued the string of hits with hers), then the comfortable life of semi-retired artists who could partake in any random projects that inspired them. A reunion eventually took place in 2024, inspired by Vesala's birthday party the year before where she, Luoti and most of the old backing band decided to play "Rusketusraidat" for old times' sake - and then suddenly found themselves playing more and more songs until they realised they were accidentally throwing on an impromptu PMMP reunion concert. A series of official concerts followed - which became one of the key pop culture phenomenons of 2024 - but the group intended from the start for it to be nothing but a temporary reunion of briefly estranged once-close friends re-discovering their love for each other and reliving their younger years. No new material emerged and by the end of it, the band made it clear that you shouldn't hold your breath for another reunion either. The relatively snappy discography therefore remains as the band's only piece of legacy, but untarnished and remarkably consistent (spoilers, I guess). Despite its relatively short nature the PMMP back catalogue is one of my favourites of the Finnish 2000s, and generally speaking one of the most consistent runs of the decade overall. And now the real challenge begins - how to convey it to everyone else.

(For what it's worth, I'm not going to feature the 2007 children's album Puuhevonen on this page. While I've heard it and some of the arrangements of Finnish children's standards are rather inspired, I don't think I'd have much to say from a bunch of literal children's songs I never listen to.)

Main Chronology:

• 2003: Kuulkaas enot!
• 2005: Kovemmat kädet
• 2006: Leskiäidin tyttäret
• 2009: Veden varaan
• 2012: Rakkaudesta
• 2013: Matkalaulu

>> Leave a comment <<

Main Chronology

KUULKAAS ENOT!  

1) Niina; 2) Kesä-95; 3) Rusketusraidat; 4) Odotan; 5) Joutsenet; 6) Synestesia; 7) Poika; 8) Onnellinen päivä; 9) Isin pikku tyttö; 10) Ikuinen leikki

Your typical patchy debut, but full of charismatic energy and enough hidden depths to keep you intrigued.

Let's talk about "Rusketusraidat" first. Why not - it was after all the first thing we heard from PMMP, and people certainly talked about it a whole lot in the summer of 2003. The video takes place in a very archetypical posh summer party (you know it's fancypants when the introductionary speech is held in Swedish instead of Finnish), which is then crashed by our two heroines who promptly go out their way to bring chaos and anarchy in the middle of high society. The two women sing about their search to sleep with someone after finally tasting freedom from their strict upbringing, they interrupt every moment of silence with ad-libs, their delivery is full of bonafide brattitude and the production is as in-your-face contemporary as it gets. The opening line and the subsequent key hook is a screamed-out "helvetin hyvin menee" - "going goddamn well" - aimed with precision at any pearl-clutcher who'd have a heart attack from such blatant front-and-centre swearing in a pop song. "Rusketusraidat" is obnoxious and very intentionally so, but there's a real sharp pop song working underneath - that is why it became the biggest hit of 2003 in Finland, as well as why it's still a hoot in 2025 too. There's joy in its rowdy irritability, a real sense of fun in its call-to-arms shout to throw away all inhibitions. It is absolutely a borderline novelty affair as well, and the kind of song that could easily cast a lesser band down the depths of one-hit-wonderdom - but I can't help but think about Radiohead's "Creep" which was in a similar situation when it kicked off its respective career path (just replace the OTT abrasiveness with OTT sadboyism)...

Kuulkaas enot! is recognisably from the same sessions that brought "Rusketusraidat". The production is extremely 2003 with the dynamically flat crunchy guitars, busy textures and the slick drum programming that trips so ever-so-slightly towards sounding almost like live drums that it's a little annoying. As you may recall from the introduction Vesala and Luoti did meet following a pop show and were interested to some degree in heading towards that kind of playing field, and it's apparent from how the debut album sounds that they're still aiming to be roughly there. Both women are practically confrontational in their delivery throughout, perfectly exemplifying the sheer level of attitude depicted on the front cover: they're young, rebellious and will absolutely take shit from no one, and they're stating that loud and clear. The album as a whole rocks a little more openly than "Rusketusraidat" (which saves its guitar energy mainly for the chorus) but that only emphasises the point: "Niina" opens the album by kicking the doors down through the vocal delivery that sounds like it's trying to punch you and the guitars that punctuate the goings with sharp electrified power chord stabs, and "Isin pikku tyttö" is full-on snotty punk mayhem that speeds into a tornado of inhuman screams and complete dismantling of any melody.

You'll have seen the twist coming: there's more to Kuulkaas enot! than meets the eye. Throughout the record PMMP drop hints that while they're currently having a whale of a time being recording artists and riding on the high of it, they've got hidden depths that are itching to come out. They start coming out as early as "Kesä-95", somewhat awkwardly slotted between the terrible twins "Niina" and "Rusketusraidat" at the start of the album. It's a really unexpected and genuinely affectingly told little vignette about two close school friends broken apart when one of them moves out of town, and it gives plenty of space to its vulnerably lovely central melody that is let to fly free across the extended semi-instrumental coda. The centerpiece ballad "Joutsenet" has tangible ache and anger to it that's like listening to a wholly different band, and both the squint-and-it's-post-punk "Odotan" and the closing rabbit hole of swooshing guitars and spiralling melodies "Ikuinen leikki" sound so much more detailed in their arrangement that it's clear Sjöroos is already starting to stretch the limits. Both Luoti and Vesala are still coming to their own as lyricists and for every slight misstep (like the drowned boy drama of "Poika" that's a little too school poem project-esque) there's a line or a lyric that jumps out as either curiously resonant or cunningly striking. The origin of what would become recognised as PMMP's own identity is here, between the lines of the trio searching for it while just having a bit of good time together.

You don't need to have the retrospective insight on PMMP's career to spot the flaws on Kuulkaas enot!. Its song material is clearly uneven, where the likes of "Kesä-95", "Niina" and "Joutsenet" easily fit in with the best of PMMP but the overworked seriousness of "Poika" and the largely superfluous "Onnellinen päivä" are among the weakest, while the others largely fall in the positive side but are instead so tonally all over the place they still feel off together. The production is sometimes a little overbearing in its Pro Tools pristineness and it never makes comfortable bedfellows with some of the rawer and rougher arrangement ideas, leading the album to feel a little toothless despite its thunderbolt energy. It's also, generally speaking, just very clear the trio have rushed into the production of the record before fully realising what their collaboration could actually look like. But it's also a lot of fun (most of the time) and suitably thrilling (most of the time): both Vesala and Luoti already shine through with their charisma and their presence here is so magnetic, it's enough to make you a believe in whatever the hell they're doing at any given time. Most artists would make a hideous mess out of a genuine punk dirge like "Isin pikku tyttö" on a pop album, but our heroes here make it not just a thoroughly rivoting three minutes but also convince it's downright integral to the very core of what they're trying to achieve (also the reserved psychedelia of "Ikuinen liekki" follows on it so perfectly that its a genuine tracklist Moment. Disorganised, uneven, yet promising and exciting and ultimately decently good? Well, that's just your trope-like wet-behind-the-ears debut and that's precisely what Kuulkaas enot! is - it just also has the distinction of featuring a monster hit that would a) become an anchor around the group's neck and b) cause this album to perhaps unfairly to have some canonical weight to it. It's strong enough to prove the point that PMMP were never going to be just one-hit-wonders, but nonetheless too inconsistent to ever be anything but the obvious weakest link of the discography.

Physically: Clear jewel case, with a booklet full of photos of the duo (the live band would still be just that, and Sjöroos was so shy about the project that he hid behind "Th!nk-!nk" moniker, much less ever show his face) and all the lyrics. The irreverent sense of humour is present all over the place - in the promo shots, in the chaotic font choices, in the note scribbled next to the instructions on how to access the enhanced content ("in normal language: stick it in your PC and that'll do!"). The title translates as "Listen Up Uncles!" so it's all a bit in-your-face right from the get-go.

[Reviewed: 10/10/2025]

KOVEMMAT KÄDET

1) Kovemmat kädet; 2) Matkalaulu; 3) Oo siellä jossain mun; 4) Päiväkoti; 5) Mummola; 6) Matoja; 7) Auta mua; 8) Onni; 9) Olkaa yksin ja juoskaa karkuun; 10) Maria Magdalena; 11) Salla tahtoo siivet; Kumipainos edition bonus tracks: 12) Kumivirsi; 13) Pikkuveli

A moment of growth for the group, though with a darker undercurrent.

Hey you know those two wild girls who sang about sex on that summer hit the other year? So their second album opens with a little ditty about child murder...

Things have changed a little bit for PMMP on album #2. Not too much: the uninhibited vitality and the front-and-centre personality are duly noted and present still, but they're directed in a different manner this time around. Kovemmat kädet is murkier and angrier all around; the opening title track (which, indeed, was inspired by a then-recent child murder case and is sung from the POV of a distressed mother) is a bit more on the nose about it than most of the record with its scream-lead bridges and spiky guitar walls, but darker and harder feelings bubble under the surface all across the record and frequently boil over. The carefree summer is over and now in the shades of the dark mid-winter you come face to face with anxiety, self-destructive behaviour, physical and mental violence and emotions thrown all over the floor. Even the jolly song about touring ("Matkalaulu") with its whimsical anecdotes about life in the tour van (complete with vocal cameos from the boys in the band) suddenly fills with fear in its middle-eight where Luoti and Vesala air self-doubtingly air out their worries about how all this might be gone in a flash one day and the astounding loss of direction that would cause - and when the song resumes its triumphant chorus right thereafter, it never sounds quite as certain about its freewheeling joy anymore. Part of the change in tone is without a doubt because of the sometimes downright aggressively sexist treatment that the women of PMMP had had to deal with during the year following their debut album, that frustration seeping into the song material, but an equally big part is the result of Vesala taking more of a leadership role with the lyrics this time around and she had been going through her own traumas in private. The fact that this isn't too far away from the blunt attitude of the debut means that Vesala and Luoti sing these songs with a downright confrontational attitude, with little room for subtlety or nuance - and that's arguably for the benefit of this whole affair being almost a purging exercise. PMMP are angry and they're here to exorcise their demons.

Looking at just the music, things have remained equally similar yet different. Kovemmat kädet and Kuulkaas enot! have family resemblance, but PMMP's development as an act after the recording of the debut and the leads' clear fearlessness have left a mark on Sjöroos' production and arrangements as well. For one, PMMP's iron-tight live backing band and their growing reputation as a concert feature means the sound here is a little more centred around the bass-guitar-drums trio as well: that means live drums and more muscular guitar production, both which benefit the album dearly. The sonic palette has also grown more expansive, running the gamut from the lite-metal flair of "Maria Magdalena" (an answer song to the cult goth/post-punk band Mana Mana's song of the same name) to the ethereal swooshes and layered call-and-answer vocals of "Auta mua". At times Kovemmat kädet is a clear follow-up from the debut - the bratty rocker "Mummola" could easily have been on the debut and the snarling and dirty "Matoja" is a version of the debut "Isin pikku tyttö" that takes itself seriously - but it shows a clear sign of evolution in the places that matter. The arrangements are more interesting both in the use of the instruments and the structure of the songs, the vocal interplay between the two singers is more intertwined, and the melodies are more developed - oh, and most importantly, the songwriting is simply better.

Kovemmat kädet is a mean hedgehog of an album, curled up in a ball in self-defense but practically excited to stick its spikes in the world's flesh, but it is also a more evocative and intricate album in its writing. Perhaps a little predictably that is most evident in the songs that have their fists lowered, above and all in the two early-album ballads. "Oo siellä jossain mun" is the gentlest and most caressing that PMMP have sounded to date, its delicate lilt of a melody soaring softly through in such a resonant manner; within the space of little over three minutes the song packs a sense of longing as tall as a mountain, the quietly creeping fear of the future in the lonely moments of its long-distance relationship depiction striking right into the heart without ever making a point of it. "Päiväkoti" is on surface pure heartbreak and turmoil, narrating the first few days after the end of a long-term relationship with a devastating sense of minute realism (adjusting to making coffee just for yourself, saying goodbye in form of asking the other to remember about cleaning their pet's terrarium as they leave), breaking into a sweeping power ballad arrangement where the strings eventually swoop in and take over. But the beauty, grace and briliance of the song is not just in that hypothetically-relatable emotional twang you can practically touch, or in the power of both the vocal deliveries and the enormous chorus, but in that quiet ray of hope that ultimately sneaks in - "and now I'm not crying" transforms into "why should I cry?" as the bright sunshine of a new day brings a renewed sense of not just an end but also a new start. It is so well done, expressed both through the lyrics and tricks in arrangement, that it's somewhat wild this is from the same group who recorded the debut.

Indeed, for all its outwards bluster the key thing about Kovemmat kädet is that PMMP have audibly grown, as evidenced by the all the more interesting songs. Both "Auta mua" and "Olkaa yksin ja juoskaa karkuun" have relatively straightforward, no-surprises verses but blossom into bonafide album highlights in their respective choruses - "Auta mua" drenching itself with those atmospheric layers referenced earlier on which underline the strength of both its dual vocal melodies as well as the ache in the vocals themselves, and the latter picking up the pace and galloping into a fearsome and all-conquering rush of a bulldozer anthem in its repeated refrains. The vocal delivery of "Onni" and "Salla tahtoo siivet" is both very poignant and piercing in its sincerity and showcases not just the range of Vesala and Luoti but it ties in with how quickly they've evolved as lyricists and how much more personal the grip of their voices is when they sing words that at least brush with something they've directly experienced. The second half in general feels like the section where the duo and Sjöroos are laying down the groundwork for where the trio could take their work next, in contrast to the more obvious highlight-fest of the first half - and while still a little work-in-progress, it brings out some really fascinating detours in both style and performance.

Kovemmat kädet is ultimately more of a snapshot of PMMP partway through their progress, rather than a cohesive statement in its own right. It has common threads running through it, but the key motivation running underneath is to show other and different sides of the band - it just so happens that there's a little bit of turmoil under the surface powering that revelation. It's a great album but perhaps not an album, but that's the only real criticism I could levy against it (that and some minor unevenness, particularly between the two halves). While in hindsight it may not be quite as exciting as the next albums to come, Kovemmat kädet is the start of PMMP earning their laurel wreath - without it, the subsequent albums wouldn't be what they are.

The version of the album I hold is the "Kumipainos" ("Rubber Issue") reissue that was released roughly six months after the original album, courtesy of its grand commercial success and trying to edge out just that little extra staying power in the charts. It comes with two bonus tracks, one of them being the semi-titular "Kumivirsi" which was the promotional single for the annual summer safe sex "Kesäkumi" campaign ("Rubber Hymn" and "Summer Rubber", respectively - just so you get the point), aimed at young people and paired with a brand new song from a currently-trending star. It's a cheeky little pop song, by and far closest to the debut album out of anything here with its sharp gremlin wit and softer productional approach - but despite being a little bubblegum it's still charmingly subversive in its bounciness, and full of great one-liners in its lyrics ("I am perfect, start falling in love" always raises a smile on my face with the delivery). The second new song (and the promo single for the reissue, which became a hit in itself) is "Pikkuveli", a cover of the underground cult favourite band Noitalinna huraa!'s signature song. The original is quaint and hushed in the manner most songs by the band were, whereas PMMP's version sounds... like PMMP, with a kicking rock arrangement and a louder, more anthemic chorus. Treating it this way, PMMP have really made it their own and some would argue theirs is the definitive version, though it's so wildly different to the original in the arrangement that the comparison seems ridiculous. But it is an excellently written song and the PMMP version packs in a great sense of drama to it, making it an excellent addition into their back catalogue. And, well, from a wholly personal angle my big sister has mentioned a few times to me how she thinks of me every time she hears this song, and that's just made it so sentimental to me I can't help but squeeze out a little extra personal importance from the song for it.

Physically: Clear jewel case again, with song lyrics and various collage-like photos and illustrations of the group within the booklet. The Kumiversio issue's cover is bright vivid pink instead of black, and also comes with a few music videos for "Matkalaulu" and "Päiväkoti" in the enhanced CD section. In case you were interested of the title's (and the title track's) meaning, it's "Harder Hands".

[Reviewed: 18/10/2025]

LESKIÄIDIN TYTTÄRET  

1) Joku raja; 2) Kiitos; 3) Kesäkaverit; 4) Henkilökohtaisesti; 5) Taiteilia; 6) Päät soittaa; 7) Onko sittenkään hyvä näin; 8) Tässä elämä on; 9) Kohkausrock; 10) Leskiäidin tyttäret

A tight collection of dynamic, emotionally charged stand-out moments as PMMP mark the apex of their imperial phase.

As another reviewer (whose name I can't recall) on RateYourMusic once remarked in a now-deleted review, if you want to get a glimpse of the Finnish psyche then you can consider how this album features a #1 single about domestic abuse and another top ten smash reflecting on how life is an ultimately unfair and pointless descent into hopelessness. So that should give you an idea of where we're headed here.

PMMP's third album Leskiäidin tyttäret continues where Kovemmat kädet left off roughly a year and a half earlier; so much so that for a long time I instinctively paired the two albums together as two sides of the same coin, on account of their perceived superficial similarities. But just like Kovemmat kädet was a transition from the wild child rowdiness of the debut to a more serious (in more ways than one) stab at songcraft, Leskiäidin tyttäret is a transition from that experimental period to a more focused take on the strengths of the last album, following a careful examination of what worked the best the last time around. On top of that, it's the first time you could say that PMMP have produced an album: a cohesive, consistent piece of work where the different pieces - including the intentional outliers - form a unified whole. The first three albums form a trilogy of sorts that depicts PMMP's growth from young upstarts to one of Finland's top music acts of the 2000s and we reach the peak here, and Leskiäidin tyttäret sums up who they were at that moment and what they were doing.

In a nutshell, Leskiäidin tyttäret finds PMMP reaping the rewards of the seeds sown in previous records, and thus little on it is particularly new as every sound and every step follows a path they've laid out before, especially on the previous album. Their actual sound is still built around the tightly-formed core of iron-clad pop songs, then covered with a layer that takes influence from both contemporary rock as well as cult classics of the previous decades, pummelling through with equal parts sharp and angry guitars and delicate and graceful melodies. The lyrics, primarily written by Vesala once more, increasingly center around darkness, regret and tragedy as the songs cheerily weave between downbeat existentialism and both physical and mental violence, with a continuing lean towards various character studies or laying out strong narratives that trust the listener to fill in the gaps left unsaid. It could easily get very over the top in its misery fetishism very quickly, but the problem is that Vesala is just too good of a lyricist to let that happen and instead her depictions of life's downward trajectories can be genuinely affecting or thought-provoking, and they stick with you in their small nuances. That isn't to say it's all darkness: "Päät soittaa" is a jaunty song about a 16-year-old living their best life at a rock festival, "Kesäkaverit" is an emotionally complex reflection on the idle summers of youth and "Taiteilia" is a sneering pisstake on obnoxiously pretentious buffoons that is clearly from the pen of someone who's had to spend way too much time among such people in industry gatherings). PMMP however are very much riding on the wave of the last album's turbulent emotions and here they're actively in the process of making them the band's calling card. It's to the extent that out of all the PMMP albums Leskiäidin tyttäret is the most overtly gloomiest - perhaps not as outwardly aggressive as Kovemmat kädet or as realistically anguished as some of the highlights from subsequent albums, but the people in these songs are defeated and broken in many places and it's not a happy journey.

The one thing you can say is brand new are the songs though, and that's where Leskiäidin tyttäret shows its teeth. As said, there's focus this time around: a stronger sense of where the strengths lie and above all an understanding of where everyone wants to go. This results in a set of songs that in equal measures exemplify what we've come to expect from PMMP as well as sometimes take braver gambles, with the band having the knack to always land on their feet. The chaotic energy the band's had is utilised to an even more powerful degree: the powerhouse rock rollercoaster "Päät soittaa" goes 0-to-100 with a never-stop attitude (with the live band making their debut appearance on record to further bring in that dynamic energy), while "Taiteilia" is a truly unhinged moment of pop-adjacent madness that switches between so sneering it's almost annoying and genuinely aggravated. Kohkausrock" is genuinely exhausting in its mania as its takes the token punk songs of the last two albums ("Isin pikku tyttö", "Matoja") to their most extreme in a five-minute storm of metal-adjacent thrashing and snarling and the breath-catching middle section where it stands still to stare at the abyss. These songs lean on not just Sjöroos' quite frankly admirable ability to fit a ludicrously catchy hook in any musical guise possible, but also Vesala and Luoti's increasingly incredible control of their performances. The range of the two women is phenomenal, flicking from screams and growls to cartoonish exaggerations and earnestly beautiful and touching softness in the space of a single lyric line, both possessed and angelic as the narrative seems fit - they're as dynamic as the musical arrangements, if not moreso. The whole of Leskiäidin tyttäret could be spent in awe of the sheer charisma and magnetism of Vesala and Luoti.

The shining example of all of the aforementioned is "Joku raja", proudly opening the album as a sign of things to come. Its opening minutes are familiar PMMP, with a tightly-wound rock groove married to a gently unassuming lyrical scene-setting that displays both muscle and grace. But this is the previously referenced song about domestic abuse and the moment the first chorus hits is still one of the greatest moments in PMMP's back catalogue: the vocal performance switches from meek softness to a raging forest fire full of hatred and fury with a lyric to match ("If you hit me one more time I will kill you", goes the first line, and you believe it), and the music explodes and builds a maelstrom around it. It's a moment that not only took me back when I first heard but also seemingly every single reviewer in Finnish media, and a lifetime later it still strikes with such power that you can't do anything but stop on your tracks and pay attention. Once that first chorus has unveiled the song's hand, it sets itself free to build on those emotions and becomes a veritable beast of a song that revels in its growing storm and almost hides its final twist of a line in its middle-eight ("... you won't wake up ever again") in a manner that makes it all the more poignant and powerful. #1 hit, guys! Though it was released as a tie-in to a domestic abuse awareness and charity campaign which makes that achievement even sweeter.

Once again though, it's the somber and sober moments which form the album's beating heart, not necessarily contrasting with the loud and tumultuous moments but rather bringing in different shades to the force running through the record. See for example "Tässä elämä on" (the other song referenced in the first paragraph) which straddles a fine line between understated gallows humour and such tragedy that it downright becomes tragicomedic, but by courtesy of Vesala and Luoti reining it in with their delivery and the music continuing to be propulsive but not attention-seeking, it reaches a point where it does become strangely affecting and if not relatable in itself, then at least making you concerned whether your life could ever reach such a dark bottom as depicted in the lyrics. "Kesäkaverit" is one of the album's most positive songs on the outset but adds a tinge of bittersweetness to its depiction of carefree summer holidays that sounds lived in, and that's what it needs to become such a deep, emotionally striking song that stays with you (the bouncy energy is naturally also catchy in its own right, with a splendid example of a tactical F-bomb being deployed to great effect as well). The foundational pillars in this respect are however "Henkilökohtaisesti" and "Kiitos", two songs depicting opposite sides of the last moments of a relationship (the former a passively fed up objection towards a self-absorbed partner's whims, the latter a self-dismissive plead of gratitude for a former partner for giving up their time to be with the narrator for at least a little while) and both are charged with slowly unfurling feelings and achingly understated stabs that hit deep. "Henkilökohtaisesti" is perhaps PMMP's best ballad to date but also one that abandons all the sonic trademarks of their previous slow centrepieces by never giving into the drama and remaining wounded throughout, while "Kiitos" keeps its feet fleet and its chorus sweeping but not allowing itself to unfold fully to a beautiful effect. For all the awe-worthy brimstone PMMP are frequently at their best when they let their defenses down, and they prove it once again here time and time again.

In terms of immediate knock-outs you could easily make the argument that Leskiäidin tyttäret has the most of them out of any PMMP album. Much of this record has been canonised one way or another, either as mainstays of Finnish pop culture or by the band themselves as they lifted certain songs as integral parts of their live sets and subsequent retrospectives. Purely from a song-by-song perspective, I don't think any other PMMP album carries as many songs that feel important in the wider context as this one: the only ones that have escaped this are "Onko sittenkään hyvä näin" which acts as a moment for the entire album to catch its breath (but what a rush its chorus still becomes), and the funeral march of the title track which closes the album and which is perhaps a little too lead-heavy and gray-shade to have found a life outside the album but which has with time established itself as a song as devastating and multi-layered as the rest of it. That's a funny feeling for Someone Who Was There - to have one key song follow another in a continuous string for almost the entire album like you're listening a greatest hits compilation, while still aware that contextually this album is but a chapter of PMMP's steady growth rather than the apex. But Leskiäidin tyttäret does slot itself right in the middle of PMMP's imperial phase, the transformation from a curious eyebrow raise into an institutional act with the depth and the hits to prove it, and if I were to be in a general PMMP mood then this is the likely album I'd place in the player. It captures PMMP at perhaps their most defining approach, with the later albums again taking elements of this to take into different directions but building on the same ground nonetheless. Leskiäidin tyttäret is where PMMP discover themselves fully, and in turn it made their audience discover that as well. Not their best, but an undeniable landmark.

Physically: Once again a jewel case with a lyrics sheet, with nothing unusual really. But what I do appreciate is the touch of giving each lyric its own aesthetic and vibe, using a lot of different mediums and fonts to a collage like effect that gives each song its own "voice" even on the page. A very nifty touch. For those who ache for a little bit of translation, the title/title track translates as "The Daughters of the Widowed Mother", which is a direct reference to the 1950s golden oldie of the same name by the Finnish vocal group Metrotytöt, though the PMMP song has nothing to do with it lyrically otherwise.

[Reviewed: 18/01/2026]