It takes all of two bars of Bad Valentines’ ‘Last Days In The Sun’ to advertise the trashier end of this Finnish band’s rather varied rock sound, when a high toned guitar wails against a punchy backdrop. The immediate effect is like discovering a more melodic deep cut from earlier Scandinavian bands like Gluecifer, or a more pop-centic Hellacopters. Their rock ‘n’ roll chops shine even more brightly when a rousing lead guitar break rears up midway, but its when reaching for more melodic climes that this EP’s opening track really comes into its own. A punchy verse is offset by a hugely melodic and really confident vocal courtesy of scene new-comer Hon, and although she sounds great on the verse sharing more of a pop-rock tone than the music immediately suggested, it’s when hitting a harmony driven chorus she really begins to impress. It’s fairly simple with the band using an ascending melody to reach a one line hook, but the results are as catchy as hell. In terms of making a good first impression, this introduces Bad Valentines in the best possible way. It’s a genuinely strong number.

If you’ve enjoyed that, then this release’s three other songs should also deliver a huge amount of enjoyment. The harmonious chorus approach makes a return for the more pop-rock centred ‘Summer Ends In June’ which, again, showcases Hon’s vocal skills in a really strong manner, but in some ways, it’s the way the band uses her melodic, flowing tones to contrast the choppier guitar riffs on the verses that makes this track really appeal. There are faint nods to a late 90s reunited Blondie within bits of the arrangement, but the vocal tones and slightly more aggressive guitar work ensures this sounds a little more like its own thing, but whatever influences you care to pick out here, the track’s melodies really speak for themselves.

Opting for more of a classic sound, the opening verse of ‘Mariia’ takes an even more retro tone, when darker melodies delivered via the guitar and a vaguely haunting vocal share an early 70s vibe. In terms of celebrating Bad Valentines’ gifts for a solid arrangement, this is the EP’s stand out track. Its mix of retro rock and harmony vocals creates a sound that really endures, but a nod to ska in the track’s bridges between verse and chorus and dark pop flourish in the vocal makes the track even better. These flourishes suggest this band aren’t afraid to branch out from a tried and tested hard edged rock-pop sound. Although the rock ‘n’ roll edges of ‘Carry Me Home’ return to slightly more of a comfort zone, albeit with Sirpa Immonen’s drums much higher in the mix and a couple of sharp edges ensuring the band aren’t merely repeating themselves. The retro rock ‘n’ roll edge really cuts through, but and for lovers of classic rock, the track’s huge twin lead solo shared between Pekko Mantzin and Kupe Wessman will certainly be the moment where this number catches the ear. Moving into the track’s second half, things take an unexpected turn when the riffs opt for a massive ska infused breakdown, genuinely making good on the previous number’s brief flourishes. This adds an extra layer to the Bad Valentine sound, before a repetitious hook ensures this becomes memorable in the long term.

Although it’s probably fair to say that the Bad Valentines sound isn’t wholly original, it’s great to hear a band mixing genres and playing in a way that truly sparkles. The band’s enthusiasm cuts through every note of this release, and Hon’s vocals are especially appealing. With elements of melodic rock, punk ‘n’ roll (again, leaning towards a surprisingly melodic sound) and alternative pop-rock, this EP is unexpectedly good, and the kind of release that deserves to find this Scandinavian band a broad and loving audience. A highly recommended listen.

June 2025