After the dream, Huuro Kolkko wakes up with a burning desire to find more clues of the locations Mindsaurus was talking about. Scholar by nature, he searches all the libraries of modern world only to realize the knowledge is scarce and often twisted by questionable political beliefs and superstitious narrow-mindedness. He decides to rely on his own experiences, vision and blind luck.

A complex song with many parts, Liskopallo portrays the band’s uncanny ability to mix different styles within the same song without losing the unmistakable sound of the band. Carefully orchestrated two cellos and organ keep the main motif going while sopranino, sopranos, clarinet and trombone add more melodies on top of the whole soup. Low end is sometimes visited by contrabass clarinet, breathing slow like an ancient tiger in a bamboo forest.

We pan into the view of a large sea vessel, a small galleon, in the middle of a nightly storm. Our hero is standing in the bow, fully wet, gazing intensively into the unknown with a looking glass. We can imagine sea monsters swimming around the ship, sharp reefs emerging from within the waves and a full moon watching it all happen behind the dark clouds. Storm is brewing into a full-blown typhoon and the hull of the ship creaks in pain. Finally her luck runs out, sharp reefs bite the wood and after a brief struggle the ship plunges into the depths of the murky sea, taking the crew and Huuro Kolkko with it…

This minimalistic and heavy song relays heavily on a pulsing groove executed by two cellos, pump organ and Tubax. Alto, tenor sax and trombone glide among the waves with a simple melody while melodica bites the hull with rapid riffs, like sharp teeth of a coral reef.

Our hero did not drown, but was rescued by the natives living in the nearby shore. Healed and fresh, Huuro Kolkko wakes up in a tent and goes outside. He sees a native girl washing clothes in the stream, small children running around chasing butterflies, a small campfire with fish frying and a village elder drowsing peacefully in the shadows. Huuro Kolkko has found the world he was looking for but it is not a paradise. Everyone looks happy, but Huuro notices there’s a lot of fear in their eyes and many of them are plagued by sickness.

Maybe first time in the band’s history, this song contains more major chords than minor, actually almost all of them. Melodically the song is quite consistent but stylistically sails between African, North American Indian and even some Celtic or Country flavors - or Bluegrass, or Gospel. Well, you decide…

Making friends with the natives, Huuro Kolkko goes hunting together with his trustworthy rifle. They go inland into the high grass where the dangerous wildlife is hiding. Obviously natives are much better hunters than our brave explorer but nevertheless Huuro manages to bring some food to the table. Behind the high grass, far away in the distance Huuro sees a mountain range called Tujuhuju the natives describe as a dangerous and magical place.

This simple tune has one cello keeping up the rhythm like a bass while a trombone and saxophones play the melody. Tubax enters somewhere in the middle and weird percussion like shaker-type beard and slashed prosciutto add some spice on top. Dance to it!

Never a man to stand still for a long time, Huuro bids farewell to native tribe and travels through the high grass till he is at the gates of Tujuhuju, the great mountain range full of snow-covered peaks and slippery slopes. Cocking his rifle he roams the valley below the mountains, a dense jungle full of insects, giant snakes and hairy spiders. The natives warned Huuro that no-one has ever returned from this place, but our brave explorer isn’t so easily startled. There is something fascinating about that mountain…

This is a full-on Vasarasian klezmer-blast filled up with up-tempo riffs, quick melodies and dense arrangements. This time one of the cellos takes up the most important role with very fast, almost heavy metal riff which mutates along the various chord progressions, all the way to catchy chorus where sopraninos and sopranos scream on top, trombone in the middle and Tubax supporting the low end. This might be the fastest AV klezmer song to date, if this can even be called klezmer anymore…

Just below the summit of Tujuhuju there’s an entrance to a cavernous maze where Huuro feels compelled to enter. The caverns are filled with a strange pulsating light emanating from the jewel-like stones embedded in the walls. Ancient scriptures and drawings tell the story of a man ascending from the animal form towards something greater, almost a god-like being. It is unclear whether this is a premonition or history recorded here thousands of years ago. Finally Huuro Kolkko enters a large cavern where the answer to mankind’s past and future is revealed to him. The truth is too much bear; our brave but unprepared explorer goes insane.

This long and progressive song is made of multiple sections and layers, also intentionally recorded in parts. After the intro, played by cello with comb (!) and soprano, we go into a deep descending maze where bamboo sax, shehnais, distorted and clean sopranos lead the way towards grand piano break and Huuro’s madness.

The story won’t tell how Huuro Kolkko got back from the world he discovered, but he has been seen wondering in the bazaars of Morocco sometime after. Wild look in his eyes, needle marks in his arms and nothing but gibberish coming out of his dried mouth, Huuro was last seen wandering in the piers of Rabat, later allegedly drown in the harbor waters. Some other story places him in West Sahara heading towards the desert on foot. Whatever really happened, no-one’s heard of Huuro Kolkko ever since, found his body or read anything about him.

This slightly paranoid and bluesy bazaar-jazz is a creepy tune with strong visual image. It also displays the diverseness of cello as both the lead and low end instrument. The song leads up to almost a cabaret-type ending where the whole orchestra swings its legs, so to speak, and eventually goes down the pier with Huuro.

This is the last song of the evening from the Huuro Kolkko’s memorial service after-party. His picture is hanging on the wall, surrounded by flowers and cards. The last guests are heavily drunk, remembering Huuro in tears. One older woman is still dancing slowly, all alone, eyes closed. The band is quietly playing the last number as the lights slowly fade out.

This 50’s style song is a smooth number with mellow cellos, bass clarinet, clarinet and trombone melodies. Dual sopranos soften up the upper register like a dreamy whisper and contrabass clarinet visits before the end, reminding us the Ferryman is near. Lone cello ends the whole story in a sad but beautiful way.