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.

Absent River

A video painting/music visualizer for Absent River, a track from the new album Interspaces:

Absent River was originally a spoken word piece for the Radio Continental Drift compilation A Radio-Bridge across the Zambezi (2018), consisting of remixes by artists and radio-makers from around the world in response to audio/radio pieces by local BaTonga women from both sides of the Zambezi river. My piece featured a story and voice by Lucia Munenge about the challenges for women to provide fresh water in Binga, a resettlement area in Zimbabwe for the BaTonga people and a result of the World Bank financed Kariba dam and lake which destroyed the original Zambezi Valley ecosystems and livelihoods.

A Radio​-​Bridge across the Zambezi on Bandcamp

Two years later I was approached by this rather interesting Finnish artist originally from Zambia, who was looking for a new kind of musical direction for her upcoming nationwide project about environmental and social issues: she had been inspired by my previous album Flash of the Spirit and especially the track Terra, and asked if I could send her a couple of more pieces in the similar spirit. Her brief was of “futuristic and uplifting electronic music with an African dimension”. Exalted and thrilled, I made her a total of 42 sketches and half-finished pieces in almost one sitting in two days, of which this version of Absent River was one. And while Lucia Munenge’s story had to go, her voice remains in the ambient texture of the track.

Unfortunately the project of this artist never came to fruition, for reasons I never learned (some venues like the National Museum of Finland had already been confirmed). She went on to release new music with this more commercial dance music producer (a suggestion from her record company perhaps? “We want more of the same”) while I relocated to Paris, my 42 sketches becoming the foundation from which the albums Sharawadji, Interspaces and Earth Variations emerged.

I hesitated retaining the original title, considering the serious reality told in the first version and the seemingly jubilant flow in the new one. But then I recalled some of the liner notes from the compilation: “After 60 years of struggle, the Valley Tonga people have a story to tell about cultural survival, creative resilience and determination for self-help and self-organisation.” The track itself is a continuation, an evolution, a ‘futurality’: the possibility that things could be different.

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