The Sleeping Gold

Anchor saves the day


Pathvvays (418) & The Flowery March

Musicians on board:
Tomi Pekkola / Guitars, Vocals and Keys
Jussi Matikainen / Drums and Percussion
Antti Filppu / Text Messages and Vocals
Ilona Laitinen / Bass

Recorded at studio Beast & Man / in Tampere / by Matikainen and Nurmela / Music needed a few (cold November) weeks 2003 / vocals only a few (hot August) days 2004 / The Rheingold and The Fool’s Gold were mixed and mastered by Matikainen / somewhere between November 2003 - November 2005 / with a few days or weeks of hard work / every now and then / All music was composed by Pekkola & TST / Arrangements were done by Pekkola and Matikainen / with Filppu crossing hands in the background / Saxophone was played by Juha Timonen / Photos were taken by Filppu / Atte Häkkinen refined them into covers / The otherWORDly process of making up and writing down things that shine happened already in the fall of 2001 / but Hard Rain Fell in November 2002 (Words) / Pekkola played and sung it the night before Good Friday 2006 / at the Battery Street Café studio in Hamina / Wolfram was read by Filppu / on Good Friday / at Grandfather's Home studio in Hamina / The original version of Parzival / as it was told 800 years ago / Chapter 9 / where the wise old anchorite Trevrizent teaches the foolish young man / about God and light / love and wrath etc / As Goethe recalled / "I was a shipwrecked sailor, more ill in my soul than in my body!" / to some of us youth is a damned thing / but it goes by like everything else / except those things that never change / These years full of “nothing” / with all of our patience / once again have revealed hidden causes to many side effects / Good things come to those who wait / and they are worth it / Yes, pitié is a French word

The Band with no name / The Sun Tryst in March 2009
(from right to left: Matikainen, Pekkola, Filppu)

TREVRIZENT SPEAKS: ”These glad tidings tell of the True Lover. He is a light that shines through all things, unwavering in His love. Those to whom He shows His love find contentment in it. His wares are of two sorts: He offers the world love and anger. Now ask yourself which helps more. The unrepentant sinner flees God’s love: but he that atones for his sins serves Him for His noble favour. He that passes through men’s thoughts bears such Grace. Thoughts keep out the rays of the sun, thoughts are shut away without a lock, are secure from all creatures. Thoughts are darkness unlit by any beam. But of its nature, the Godhead is translucent, it shines through the wall of darkness and rides with an unseen leap..."

A PLACE TO HIDE IN THIS CITY: "naming these would make me feel bad, i wouldn't like to name these" / “…like to name these…” / only one would not embitter you / tragedy and whorehouse / "the likes of me went hiding there for the little girls" / and the last tango will be new again / and you can tell them / what happened to the d___efloor, it’s empty of gold / where did you get your eye / "the likes of me went hiding there for the little girls, wrymouthed" / and they’ll come asking / will they answer /(où as-tu trouvé ton oeil) / where did you get your eye / answer in english / "why did you let me suffer"

THE WARMTH: the light throwing us out / bright or not, it’s the same / little did people know / what holds them for a while / and friends who are lonely / how is it with yours, how is it with yours /(how it is with yours, how it is with yours) / the stranger the hours through / to be reading the seventh key / and for being sorry / someone else’s much worse / in healthier cities, they’re sleeping together / i’m hearing old curses / miserly come from elsewhere / of having each other / i’ll give my word for this fever / helping the heart to give up / i’ll get rid of the worthless, get rid of the worthless / it’s better now, to go and lie beside / the swans on the english river are pale / we’ve seen shame in spells, when failing / "...when failing, when failing...when failing, when failing..." / i’d like to have them so / they wouldn’t hurt in warmth / in red at dark / i could give up, everything / whenever the evening’s fine, whenever the evening's fine

HARD RAIN FELL: none of these names would ever live without us / and we already knew them / save us from forgetting how it happened / 'cause they were all taken, they were all taken along / from the lonely crowd (the lonely ground) to wither together / we could ask if anyone's helpless / and what it's like to fail in love / i have lied so often / are there any chances to leave

PARK ROMANTICISM: i didn’t mind / i’m not bitter / the very few times and the years spent / “god, it’s been empty” / something to feel without coming close / i live in the midst of beautiful parks, beautiful streets / we don’t have to try / sour (with amphigories) there’ll be no last / long enough for me / the street by night it's full, of what kind / to your place after this / hear the dirge, then you’re back / “the wind’ll break the glass but i don’t mind if it rains inside” / and to find love (thinking to find love) / would you like me to write it down for you / gone outside in the room upstairs / following the dim light of the lamps / the grief fell for a moment and grew into a storm / enough loss to be here / not gone with the others until now / and i’ll be veiling the leaves this year, also

IN THE CELLAR: trying to think in curves, not getting wet / without a coat of any sort / for the musing, how i liked the sound of it / the end of the month / just the stairs down to the park, more ill in the soul / drinking and smoking / i had to sleep to see the gold / what boredom rising to tell some girl it happens, the ladies’ men rest / if you’ll let me love this world, the two floors / while still in the line / seen there through the crowd / we’re right when hesitating / now over a year ago / in the early morning i was told i blew it, hurrying (from the dead ends of my life) / in the dead ends of my life / and even the bliss of touch / merely a wish, merely a wish / i needed it more than ever before (but i couldn’t leave) / in that other park we stood on the grass / i’ll sit here quietly and melt into this terrible noise (even though they're closing) / sleep it off, cypress / sleep drunkenness

NIGHT CAFE & CONVERSATIONS: already so late / are there (many) places to visit / i let it begin, to hide the worries without fail from this / and you speak to me in french / and you'll care for me, i've been wondering if i'm sensitive after all / i was wondering if i'm sensitive / no sugar for us / and when you're laughing i don't recognize it / any hard feelings from right to left / sickened, they'd hate the tango for me / without them there would be not much hope / "a cup of coffee for the memory and another for the sorrow" / and you speak to me / where are you, where are you / what an anchor my happiness will be / in another state / paper weighing a lot / levity brought to these pieces / and who went dancing in slow motion / later on, we fed some lies / and what you had expected / not that great after all / “but my heart's not as black as your coffee and you're not french, either”

ANCHORAGE: "glowing we opened safely over the anger in it, but i’m not sure what it is" / could you weave me a chance and white clothes / and take these coins from my hand / "forget there's a thank you, 'cause i'm not sure (oh i don't know) if i can think of anything worth the cold eye" / what has now found itself / "i’m so into this that i’ll be drowned" / and then for pitié’s sake at least the heavens / they’ll bring forth a stream or a river as my veins in that song / to cry again and again / i haven’t asked the dear sun / neither a word to be sung with delight / near you in grace / letting the depths glow, too / (i know) i’ll never awake / if i’m taken there / through the last thing in this world i could place myself / the thoughts and the words were first / i’m not cold from within / keeping the will below the sad lines / where endless flashes are hanging / they’ll bring forth a stream or a river as my veins in that song / to cry again and again / i haven’t asked the dear sun / neither a word to be sung with delight / near you in grace / letting the depths glow

TREVRIZENT SPEAKS: "...unaccompanied by thud or jingle. And when a thought springs from one’s heart, none is so swift but that it is scanned ere it pass the skin – and only if it be pure does God accept it. Since God scans thoughts so well, alas, how our frail deeds must pain him! When a man forfeits God’s benevolence so that God turns away in shame, to whose care can human schooling leave him? Where shall the poor soul find refuge? If you are going to wrong God, Who is ready with both Love and Wrath, you are the one who will suffer. Now so direct your thoughts that He will requite your goodness.”


ANCHORAGE means "hermitage", the place where a hermit lives.
Anchorite and anchor are synonyms for "hermit". The photographs above were taken on Good Friday 2009 at the Hermitage near Goetheanum, Switzerland, by AF. Lyrics, references and more photographs at http://www.mythicpoetry.blogspot.com

A Good Friday Spell

Pathvvays (418) & The Flowery March

The Thin Young Men:
Tomi Pekkola / Guitars, Vocals, Bass and Keys
Jussi Matikainen / Drums and Percussion
Antti Filppu / Written Spells, Vocals and Occasional Guitar

Recorded in July-August 2000 (music) and August 2001 (vocals) at Vehkalahtisali Studio by Matikainen / who also mastered the mixing with fine delay and echo / The songs were composed between March 1999 - April 2000 / All music and arrangements by Pekkola & TYM / although an invisible hand did help with the last minutes of Somnolence Out / and some other things, too / like the writing of this little spell / as it was all coming and going (ever since March-July 1999) / until Good Friday 2000 finally brought the spirit and the word together / And the axis worked well with the wheel of this millennium / A part of The Red Wine was recorded in March 1995 / Back then it was called Blackened Roses On My Grave, and bass was played by Mikko Nenonen / Cover art by Filppu and Matikainen, with Nenonen kindly assisting / Dedicated to all the poetasters in this world (“those who write inferior poetry”)!

Hamina in December 2001 (from left to right):
Antti Filppu, Tomi Pekkola & Jussi Matikainen
The men are having a cup of coffee with some very delicious Christmas cakes. Photograph by Mikko Nenonen.

A GOOD FRIDAY SPELL: there'll be no burdens to darken the green / a place of living brought an ordeal / here's the coffin you know / where are we going tonight, who'll ask /hey, branches are trying to get out of there / and i'm fond of the weather / yes, baby, what a truth it was / you'd never seen me that silent / the wet evening street, vanity clear and stretching away / to work upon it coherent / remember that line of old-fashioned lamps / i couldn't tell you anything, with a broken habit / and the grey wall followed in the left / i let it all rain down of course / and how long it took / just a spell to get myself in order / i was right in that it works and wrong in a few other things / the bleached and our resentment / think it as a kind of secret / i've tried so much, and are you going to watch these steps hoping that i'll grieve

ASTER / THE RED WINE: burning and velleity the sad part / cleansing dives without a reason / three quarters of an hour / it was the same image / idle along when dreaming, then want a palace in the garden and a heart ages old / what heals all now / adhere to the word / it would have been fine if something real had happened / psyche / where are your selves laid / nineteen for the chronicle / those things on my grave were not alone / it was deepened that autumn / let the florescence turn brighter / with a peace and chrysanthemums found / venetian blinds did cut the sight on the horizon of march / dear, i was still in a feverish realm / looking at its brim / but i've come to hold your hand / the need again graciously / the time is different, don't transcend in the bus / for the hotbed and the wine now bottled / i'm so damn glad i'm here and sane

UNDER AUTUMNAL RAIN DISTINCT.: the crippled man is speaking / "i have suffered enough for not following you, have i not?" / listen to the narrowing sound / the lower waves there, and hollow thorns / i'll walk a little under that light / in salvat (give it a thought or two) / give a thought or two to compulsion / wonderful's not the same in those liquids / near the spirit's edge / to say something wise about loneliness, or something wise about the human mind / honey will end the loss of routine / waltzing with a girl whose name is white flower / thank god all are reminding each other / but hearts do come out of chests / "yes, we were in the park under an almost autumnal rain, i tried to act like a gentleman with the umbrella; offering my soul to set" / "the old language isn't enough, i finally managed to lit my heart with the ageless flame" / if you're willing to stay make sure it isn't hard to breathe / it'll be just fine, verily

THE SHAPE: to bliss whenever quiet / it's a slow m
ove, lying on the bed / but many have done it before / with heavens of archaic fathers towards a terrible spire / that's why i'm still eager to have cream and jewelry in tongues, using violet / when harmless orchids are tied together / and a frame of something / pour everything down your throat / for the only love and the life / i admit you're a beauty / though only a picture / the word nature means "that which is born" / the memory begun to live / let's go somewhere else, to have a new glassful / it's an old wine / i saw the crippled man and he had bitter-looking company / "now you have all the time in the world to spend with me"

SOMNOLENCE OUT: muse in clasping arms / for a
city that is lonely / who's gonna take a walk around the corner / here i slept and my wishes at home didn't work so well / crave highly for languish, more and more tired / "no sorrow's forever with me, though sometimes i still go over the edge" / leaves may have withered / the floor of the dance for an illhearted / as december went away / and i had written to you, but not like a poet / the crippled to fall for your rose / there's a holy wine / i used to have a broken chalice / a coffin in the middle of the room / dark blue walls / there were pieces on the floor / a theatre i could say / until the trees of cherbourg seduced me into a different kind of romanticism

BEAUREPAIRE: dressed in carmine / we met again on a bridge / stared the water beneath and the lilies floating there / oh the fate in my hands with every coincidence on the streets / whether it's good luck or not, my loving adèle / who'll be there this spring / to hope it's built above cliches / and read me through these eyes / how could i show / the wounded and wandering knight, with golden numbers on the chestplate / riding the horse of a dead knight to a chapel / yes, for an accident to take place on a bridge / the crippled will pour it down gleaming and send forth / "i have a trembling body, thrown deeper after this; its pieces glimmer for me" / with a violin the end of love / these lines brought emptiness, no grass here greener / we are watching a black-and-white movie / and your violin is heard, it's moving the innocent / in pure songs the water's cold 

Photographs were taken by Filppu, walking down the wet evening streets of Helsinki in October 2000. Matti Rautaniemi has framed them nicely. Lyrics, references and more photographs at http://www.mythicpoetry.blogspot.com

Pathvvays & The Flowery March

INTERLUDE: "There's a pure heart..."

Pathvvays (418) & The Flowery March

The Musicians:
Tomi Pekkola / Guitars, Vocals, Bass and Keys
Jussi Matikainen / Drums and Percussion

Antti Filppu / Numbers, Rhythm Guitar and Vocals

Recorded at Alfa-Laval and Vehkalahtisali studios in Vehkalahti by Matikainen / Music in July 1999 / while the sun was shining / Vocals required a weekend in mid October 1999, and a lot of Wagnerian angst with kebab / Mixed and mastered by Matikainen sometime later / somewhere between the recording sessions and the Spring of 2000 / Pathvvays saw the light of day in October 2000 / All music was composed by Pekkola (between October 1997 – August 1998, and The Flowery March in February 1999) / The lyrical themes came to see the poet in November 1997 / Their meetings were held between the math exams and homework during the following months / with the exception of Trauermarsch / which came to be heard in February – March 1999 / So, all otherWORDs by Filppu / except the cover text / it was randomly chosen from Parzival’s English translation / Wolfram von Eschenbach being the long gone author of this Middle-High German poem / Arthur Thomas Hatto mediating its modern prose version / A few quotes were also taken / from Aleister Crowley's Liber al vel Legis / But all we want to say is / the little thing here shows many kinds of paths to walk / and it literally tracks down a certain dead end

Hamina in June 1999 (from left to right):
Tomi Pekkola, Antti Filppu & Jussi Matikainen
Photo by Panu Huikko.

right through the middle: fire's a wound / the sacred lance enshrined in admire / i'm always cured, with my red flood and its grace / carried to a warlike heaven / i have the will, to me you're a valkyrie / yes, to me you're a valkyrie / the most beloved / straight line forms a gateway / i'm drawing down the greatest force / a character doesn't change, my darling already had her wings / "half of me is wicked and worthless, but in the other half the value lieth"

brunhild and the dreamless: the useless grievance has found its place from an evening song, the strings are divine / the play sounds unreal around a funeral pyre / scarlet, flecked gold / the source is still there / but i'm afraid to go outside / brunhild / it's their fault i'm growing hollow / catch the spheres in motion, the thousand young calling / "wrapped in a tension that's wrong kind, for the tears of our lost one a wreath of faded flowers" / i know you'd strike me down at once / the worst is shown here, everything i wanted / tragedies to come closer / the spirit and a circle

amfortas, the fourth november: writhen lines are beautiful, the faithless in their hour / my blood to fill a twofold sigil / numb instincts led the way / here's the chair i'm used to sit on / strangled in despise, i'll write "i'd better crush the blackness, crawl towards the flow" / with the same last warming tongues / there came an ending to yesterday / and the grail is uncovered / it's twilight, it's twilight / a request for the saviour / i face the floor, through november's loneliness

trauermarsch / purple, the horizon's celestial: and if you don't understand this, you have probably lost your mind / venetian blinds cut the sight / i don't have much to mimic / i can take all the losses / there's a holy wine / i grabbed his hand firmly and then swayed mine / more honesty / the overflowing chagrin offered from a silver plate / the cajoler's view is sullen / the end is vested while i'm wearing his suit / there's no feeling anywhere else / the pieces cry / i put a paper in the sepulcher / it's like a painting / "come closer me to my arms" is what i've written (in summer, 1995) / älä sie ihmislapsi hättäile, kyllä se siitä (“don't you worry, human child, it'll be alright”)


The chair photograph was taken by AF. Lyrics, references and more photographs at http://www.mythicpoetry.blogspot.com 
All records are available and downloadable for free at