contemporary music

My new album SIINTO out now

My new album SIINTO is out now. Hooray!

This Bandcamp release will shortly be followed by all the other streaming platforms (incl. the unethical Spotify).

This has been my most challenging release to date, in terms of its scope and complexity. But I’m utterly thrilled with the results – and in the process I discovered a new kind of musical thinking that will form the basis of my unfolding doctoral studies from now on.

I hope you will enjoy this sonic journey (it may require some time and space, I admit). 🙂

Warmth X

SIINTO (Finnish for ‘shimmer’, ‘dawn’, ‘reflection’, ‘glow’) presents three compositions – or ‘geomusical objects’, as I began to hear them – that play with the notion of music as an environment and environment as music, exploring the potential between geography and music.

The tracks are long (20 minutes), with the ‘hooks’ occurring slowly and gradually over the course of the entire tracks; this is to better cater to the current demand for 2-minute songs with instant 15-second hooks.

(for a new culture is to be found in the spaces, silences and ruptures too incomprehensible to the optimisation algorithms)

It is meant as music to swim in, roam through, get lost in or bored by, zoom in/out of, journey with, discover alongside other things, be exited and returned to at any point.

Siinto and its variation Saraste (‘morning’, ‘dusk’, ‘first light’) originate from my artist residency at KulttuuriKauppila in Ii, Finland, July-August 2024: while there, I was invited to create a site-specific live performance that drew its inspiration and most of its sonic material from the local geography of Ii. The title track also features the voice of a dear friend who was born in Ii, abstracted from a poetry recording we had made years earlier; and while in the performance the voice travelled as a clearer figure in a landscape, here it has become more ecological – a sustaining part of that environment.

Kajo (‘soft light’, ‘reflection’) forms the backing track I created for poet Sanna Karlström’s spoken word performance at Sähkö #42 in Jyväskylä, Finland, September 2023. The idea has again been for a situation/site-specific soundscape composition, drawing thematically and sonically from the local environment and culture – and, in this case, from the content of Karlström’s poems as well. The collaboration was made possible by my residency at the Writers’ House/Kirjailijatalo in Jyväskylä, May-December 2023.

A particularly vital layer in these geomusical objects emerges from the ‘stratified’ recordings of Ginette, originally performed by Petteri Mäkiniemi (the inventor of this wonderful electronic instrument).

My deepest gratitude to Petteri Mäkiniemi, Heta Kaisto, Sanna Karlström, Gregor Zemljic, Diego Castro-Magas and Alicia Reyes for bringing this album to life; the Orpheus Instituut; and to KulttuuriKauppila and Kirjailijatalo for their transformative residencies and generous invitations for me to engage meaningfully with their respective localities.

Earth Variations – streaming everywhere

Pleased to announce that my new album Earth Variations is now available on all the major streaming services worldwide.

Links to the album on selected streaming platforms

I’m truly excited – and relieved – to finally have this album completely released and out in the world. It’s been years in the making, with unexpected detours and discoveries along the way.

I’m truly grateful to the brilliant artists and musicians who made this album possible: Viktoriia Vitrenko @viktoriiavitrenko on vocals and voice, Omar Harb @omarharbmusic on bass, Petteri Mäkiniemi @petterimakiniemi on Ginette, Nazim Bakour @nazimbakour on electric guitar, Em’kal Eyongakpa on field recordings. And to the brilliant Gregor Zemljic @gregor_zemljic_gz_mastering for mastering the album with such care.

Thank you also to the similarly brilliant Lee Clough @leeclough, whose original photograph (now obscured by my yellow haze) inspired both the visual and sonic direction of the album. And for her Indian riverscape tape recording that first set me off for unearthing these possible musical geographies (back in 2000!).

My gratitude and warmth also extend to everyone else whom I’ve had the pleasure to meet along this journey – there are simply too many of you to mention here 🙂 – as well as to the Finnish Cultural Foundation (SKR) and the Arts Promotion Centre Finland (Taike) for their invaluable support. Thank you.

Keep rocking X
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“Earth Variations explores the idea of music as an embodied and possible geography: a milieu, landscape, terrain, situation, condition, atmosphere. It is inspired by our unique, complex planet in a state of flux. Featuring contributions from soprano Viktoriia Vitrenko, bassist Omar Harb, Ginette player Petteri Mäkiniemi, guitarist Nazim Bakour, and sound artist Em’kal Eyongakpa, the music has been composed and recorded in London, Saarbrücken, Espoo, Douala and Paris between 2004 and 2023.”

Petals

‘Petals’ from the new album Interspaces, featuring Petteri Mäkiniemi on Ginette. A proper music video/short film for the track is currently being developed with this internationally acclaimed media artist, and it will be released sometime next Spring (due to time and budget constraints). I wanted to try some visual experiment for the piece now, however, while the album is still fresh…

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Petals has been 24 years in the making. The ambient background was created during a summer night in 1998 in Suonenjoki, Finland: I had my studio and rehearsal space in this wooden cabin by a pond, surrounded by forests and fields on an organic farm where I spent that summer working, and while I was recording, I could see through my window nocturnal mist hovering above the still surface of the water, interrupted only by two swans gliding quietly together. The landscape was illuminated by a full moon and the reflection of a midnight sun. A couple of years later in London a friend of mine wanted to use the track as background music for his painting exhibition, and for the purposes of the show I added a voice of this Finnish girl reading a poem of mine (in Finnish), timestretched into a more abstract and ethereal layer.

For the next 20 years the piece remained unchanged – and unreleased, despite my efforts to find a suitable context and form for it – until one Spring morning in Paris I finally realised how to continue with the music. Petals was finally finished during a summer night in 2021 at my Cité des arts studio in Paris: going through a heartbreak caused by this artist (coincidentally from Finland), I felt the piece was still missing something until I stumbled upon a lone Ginette recording Petteri had made and sent me the year before; Ginette’s expressive power and harmonic progression matched both the existing composition and, with some added raw distortion, my emotive state perfectly, as if recorded specifically for this piece, and brought the composition and my broken heart finally to a close. There were no swans gliding on a moonlit pond outside my window that night but a soft hum of the Parisian traffic, a couple of nocturnal birds singing, and a sense of a new dawn.

Interspaces is out now

My new album Interspaces is now available for streaming on all major music platforms.

The album is also available on Bandcamp where the release includes higher quality audio download and extended album artwork. In the end I decided to make two initially planned bonus tracks part of the official album since – thanks to the brilliant mastering once again by Gregor Zemljic – their inclusion felt natural, necessary and uplifting.

“Interspaces – my tenth album (including two collaborations) – presents 11 tracks of largely electronic instrumentals with abstracted vocals, drawing from electronic, popular, contemporary and global musics. The initial idea has been to explore a new kind of beauty and sensitivity, spatiality and intricacy in music. The album features contributions from soprano Viktoriia Vitrenko @viktoriiavitrenko, bassist Omar Harb @omarharbmusic, and musician and Ginette player Petteri Mäkiniemi @petterimakiniemi.

Influenced by diverse ecosystems and worlds between vast empty landscapes and pulsating global metropolises, the music is furthermore inspired by the idea of globality and mundialization as well as the city of Paris where the album was produced between 2020 and 2022.”

With every release you try to reimagine the future world. And the feedback I’ve received so far regarding the new album has confirmed that music and sound, even those made by me, indeed have the capability to bring us to the world as it exists without being reduced, represented, distorted and clouded by ideologies – economic, political and religious constructs – and to show the potentiality and possibilities that the life, physical and nonphysical, continue to suggest. A complex, ambiguous, evolving, creative, more invigorating and freer state of existence: “a dawn of the world” as philosopher Deleuze described it. Or as Björk said, “this universe is truly a magnificent spectacle, and needs to be mirrored”. That’s why we have art, music and science.

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I would like to thank you for all your support and feedback so far, it’s been the most inspiring and catalyzing to receive and hear. I feel I’m at the beginning of a new musical discovery and adventure, and I hope many of you will continue to share this future journey with me as well.

Naturally I would also like to extend my heartfelt gratitude once again to Viktoriia, Omar and Petteri for their invaluable contribution to the album, and to Gregor Zemljic for his genius-like/zen-level mastering of the music. I’m delighted that this same group of collaborators and talent will be featuring on my next album Earth Variations as well.

With warmth and care,

Ilpo

Our Last Night at the Cité

Viktoriia Vitrenko and me, on our last night at the Cité. Viktoriia is a soprano, conductor and artistic director from Ukraine. We recorded and performed together during this residency which itself was a journey, a discovery and a transformation. More info on her work here.

The albums we worked on, Earth Variations and Interspaces, will both be out early next year (meanwhile, my album Sharawadji is scheduled to come out this month, permitting that my fantastic mastering engineer will recover from his unfortunate Covid infection – wishing him the best recovery and health!). Earth Variations will also include an edited segment of our 20-minute live performance here at the Cité: our ‘Soirée d’ambient finlandais’ concert last week was largely improvised, and it produced some rather novel musical atmospheres and landscapes, all happily captured for future purposes. A segment of the performance will also be broadcast in the forthcoming episode of the LOVI ambient radio show (more info closer to the airing).

Now, toward new adventures and worlds, with our paths hopefully meeting soon again. À bientôt !

An Unexpected Voice (from Ukraine)

This week I’ve been recording vocals with this Ukrainian soprano, Viktoriia Vitrenko, for the Earth Variations and Interspaces albums. We met accidentally and serendipitously two weeks ago at the Cité des arts in Paris, an encounter which I documented from word to word on an Instagram post of mine since it was the most unexpected as well as the swiftest start of a collaboration I’ve experienced so far.

“I met her in a hallway, by the door. I was returning from a break when I noticed that a woman walking ahead of me stopped by the open door of the studio I was working in and peeked inside.

‘Are you possibly looking for something?’ I asked her politely.
‘Yes,’ she replied. ‘There’s supposed to be a hiphop dance rehearsal somewhere here tonight.’
‘Well, I do occasionally breakdance when I’m working, but I’m sure that’s not the workshop you’re looking for,’ I said, joking only partially. ‘The hiphop rehearsals are usually over there, in Studio 5.’
‘What are you working on in here?’ Her curiosity surprised me. People here weren’t usually interested in what others were up to.
‘Oh, just on my music. You know, composing, recording, mixing…’ I fumbled.
‘What kind of music do you make?’
‘Erm, it’s electronic based but with lots of influences from different styles and from around the world…so hard to describe.’ I felt the usual ship of words sinking into the thought of an ocean of sounds.
‘That’s very interesting as I’m also a–,’ But before she could continue, we were interrupted by a pianist next door looking for a bathroom.
‘So, what do you do?’ I resumed when the pianist was on her way and we had both returned ashore.
‘I’m a singer.’
‘Oh…I’m actually looking for a singer at the moment.’ I hesitated for a second. ‘But it’s quite experimental…no lyrics or clear structures or anything like that…a sort of new ways to play with voice in music…’ I was sure that by now, in her ocean view, my ship had actually sunk. But her eyes lit up even further.
‘That’s exactly what I do!’ she exclaimed, becoming visibly excited. ‘I’m a soprano, singing mostly contemporary music, but I also work with electronics and experiment with my voice and singing a lot.’
‘Wow…that’s really interesting. Er…I don’t suppose you’d be–.’
‘Yes, I’d be happy to sing on your tracks!’

And that’s how every collaboration should start. No ego, attitude, negotiation, hesitation or hassle: simply openness, enthusiasm, resolution and curiosity to play and experiment.”

It really is astonishing to watch and listen to a world-class singer, two metres away, building layers of vocals on your tracks, elevating them instantly into something resembling a proper, serious music. She comes up with similar ideas I’d written in my notebook earlier but am yet to share with her, and then expands them much further, exactly the way I’d do it but could never have imagined. The voice transports you: our small studio space turns into a concert hall, then into an Afromontane forest between a desert and an ocean, before returning, via the Lower East Side of Manhattan and the Jonquet district of Cotonou, to a wooden cabin by a lake, with the stars just appearing in the late summer sky and the moonlight traversing the water’s still surface.

Afterwards we spend a couple of hours discussing philosophy, art, Detroit techno, Mediterranean cities, migration, and the possibilities of voice and sound as agents for social and political change. It turns out that she, like me, loves to deepen and expand her work through thinking and writing, reading and discussion. This happens so rarely with musicians – and understandably since music, at its best, evades all the words and thinking – that I want to freeze the moment for the eternity; I simply love this level and scope of commitment, curiosity, drive and professionalism. Through our conversation, I realise that my forthcoming book has begun to find its territory and form. Yet I can’t help wondering how random and unexpected, serendipitous it was that we met: in that hallway outside, by the door, just one night by chance.

Images: recent visualisations of some of the sonic atmospheres on the aforementioned albums.

Serendipity, surrender and the return of Afrorithm

Afrorithm in the house. I’m currently preparing for this special concert with a good friend of mine (and very talented musician) Petteri Mäkiniemi, at the Helsinki Music Centre next February. The concert will be a tribute to the pioneering Finnish electronic music duo Pan Sonic, and it’ll form part of the Musica Nova Helsinki contemporary music festival 2019.

Our idea is to create a new kind of music in which the aesthetics of Arvo Pärt and Olivier Messiaen meet those of West African musics, through the minimalist and sometimes brutalist aesthetics of Pan Sonic (we are also inspired by Jon Hassell’s musical concept known as Fourth World). Petteri plays his self-built instrument Ginette, which is based on the ondes martenot (and which appears on my album Pulses / Radiance), while I play my generative system called Afrorithm (Afrobeat + algorithmic composition). We’ll be joined on stage by a cellist and a bass clarinettist from the Helsinki Philharmonic Orchestra. 

So far we’ve had two rehearsals. While these began as innocent jam sessions for the concert only, we soon realized that we’d created an album’s worth of beautiful, new kind of music – less polished and produced, more spontaneous, candid and human; pastoral, orchestral, African and futuristic (the word ‘evergreen’ keeps also coming to mind). After six extensively crafted studio albums it feels invigorating to arrive somewhere fresh and fully formed so effortlessly, as if we had simply channelled this music onto the tape. Our plan now is to bring this serendipitous album out into the daylight early next year, possibly around the time of the concert…

The film composer Hans Zimmer said that music is at its best when it’s about people playing together in a room. I agree with him. As a music producer you mostly release your long crafted labours of love as digital downloads and streams only, and the work then drifts in isolation in an obscure world of internet clouds and distant servers. It’s all fine as a distribution model (barring the energy consumption of those servers) but you rarely get to hear and feel how the listeners react when they listen to your music; the function and purpose of your music, if any, remains mystery. But when it’s just even two people playing together in the same room, immersed in the moment and moved by each other’s sound and playing, you remember why you love music, and why it has become such an important tool for you to explore and understand this complex world pulsing with new possibilities.