#timo kaukolampi

[garadinervi]

Islaja, Angel Tape, (LP/digi), ACU02, Other Power, 2023

Composed and produced by Merja Kokkonen

Piano played by Midori Hirano Violin played by Eriikka Maalismaa, and it was recorded and produced by Timo Kaukolampi Urvogel and Teresa’s Song co-produced with Erik Knive Skodvin Additional vocals on Oh Divine by Helmi-Julia Nyman and Kristina Bakić Harp played by Lily-Marlene Puusepp Mastered by Juho Luukkainen Original artwork by Merja Kokkonen Photography by Antti Nylén Executive producer & design by Matti Nives

[lesdeuxmuses]

Timo Kaukolampi & Tuomo Puranen - White Wall (Svart Records, 2021)

[joemuggs]

Albums of 2023 part 1

OK I started a best albums of 2023 thread as there's lots that got missed out of charts I contributed to. I got carried away and there's nearly 100, but they're all superb and I think there's something for everyone here. Start with this: a DEVASTATINGLY fresh drum'n'bass/jungle excursion from a perpetually underrated UK bass don Altered Natives.

A short but PERFECTLY formed 20 minutes of heavy, trippy R&B with surprise UKG and even drum'n'bass twists, Tinashe deserves so much more credit as an innovator...

I was late to this one but should've known the Hive Mind label always delivers. Swedish-based guitarist Vumbi Dekula delivering track after track of perfection like it's as easy as breathing.

I've always enjoyed Lana Del Rey when she's at her most benzo-haze - and this Mitski album hits that spot perfectly... not that it's all dissociated - it's very smart and sharp - but you can easily drift away into it.

Metallica, Pink Floyd, Fleetwood Mac, Blondie covers in a millennium old Inuit language? Well yes - and in Elisapie's hands it's DEVASTATING. I played the Leonard Cohen one out at 3am in a chillout room in the summer and it was real, REAL magic.

TONN3RR3 & BIKAY3 = French live electronic beats of various flavours + EXTREMELY eccentric Congolese vocalist = braincell-scrambling funtimes...

First of two major trip-outs from Optimo Music last year - with Op:l Bastards and then K-X-P, Timo Kaukolampi is best known for motorik cosmic synth rock, but here everything is stripped away except the abstract cosmic, and wow it'll give you vertigo if you let it.

The presence of Peter Zummo here leads to automatic Arthur Russell comparisons for Greek-British brothers áthos - and it's not NOT Arthur-ish.... but more, it's operating in the same boho world of freedom as he did, and finds its own delicate voice within that.

Another massively unsung talent, original Moving Shadow / - now Over/Shadow - crew, half of Mixrace with the mighty Paradox (they also had a great record out this year), Dave Trax makes THE most exquisite soulful but heavy d'n'b and this album is among his best.

Melbourne's always been musically interesting, but this new duo project from a Gorillaz / Genesis Owusu collaborator Mindy Meng Wang 王萌 with Sui Zhen is above and beyond. Sort of fourth world but more advanced (fifth world??), it's a really personal, precise and endlessly fascinating thing.

Dunno how Jamal Moss does it so prolifically but consistently: an endless flow of machine funk like a jet of magma from the centre of the earth. Add Polish saxophonist Jerzy Maczynski to the mix making Universal Harmonies & Frequencies, and the results are overwhelmingly ecstatic.

Holmer zooms into the essential something that links Mary Chain, Goldfrapp, Stereolab, Cocteaus and all their influences in turn... a kind of pure essence of motorik, psychedelic, magickal pop..... Such an instant, potent, pleasure-centres hit.

Your favourite DJ's favourite DJ's favourite DJ Jerome Hill is also no shabby producer and every one of these eight tracks is the platonic ideal of a bleeping, clonking, tweaking, hot, sweaty, bassy dancefloor banger.

Need a reminder that it hasn't all been done before in electronic music? TSVI got you covered: this is the FRESHEST gear, but never innovating for innovation's sake - always about emotions & composition first. Includes several Loraine James contributions too \(more to come from her....) ❤️

The kind of drone music that can give you superpowers if you make space to really soak it in. Kali Malone x Lucy Railton x Stephen O'Malley = AVENGERS ASSEMBLE!

The Magic Numbers pretty much passed me by, but this solo album from the band's Michele Stodart is the epitome of Soft Music For Hard Times, real quiet dignity stuff, beautiful subtlety to production/arrangment and just the kind of countrified songwriting I adore.

A second one from Hive Mind, and another supermodernist feeling one - ultra sophisticated stuff from the Rio de Janeiro polymath Ricardo Dias Gomes: is it post-rock? Indietronica? Neotropicália? Yes/no/whatever... watch out there's a noisy surprise at the end!

Is it me or is R&B / neo soul wayyyyy more experimental than hip hop at the moment? Like the Tinashe and Janelle albums, this is super short but WOW does Madison McFerrin pack a lot of innovation, emotion and just v.i.b.e.s. into its 27 minutes

Very cleverly structured because it starts quite timid and slight, which it turns out is maybe expectation management? But Andre Three Stacks builds into something that demands repeat plays - and a megastar bringing Don Cherry meets Hiroshi Yoshimura vibes into the world?? It's not quite the masterpiece I'd hoped for but it is GREAT.

The perfect (paradoxical?) combination of being absolutely true to the unchanging groove of Detroit, but also pushing it forwards sonically... DJ Bone STILL sounds like the future.

A second appearance for the most fun abstract cellist out there, Lucy Railton - this record is really tricky, it feels different from different angles, keeps throwing surprises at you, the proverbial "a lot to unpack"... but it's GREAT.

hinako omori somehow emerges from a wellspring circa 1979-81 when prog synth meandering was feeding into e.g. Kate Bush, Eurythmics, Japan, and then traces through that into 00s post trance pop but it doesn't sound retro? HOW?

Another small but perfectly formed one. Amazing that Ultramarine's elegant, pastoral, ECM-ish house explorations are still so exploratory and moving after all these years - and they fit perfectly on the Blackford Hill label which had an extraordinary year too.

In a year when not a lot of hip hop floated my boat, this was a glorious exception. Kind of odd it didn't get more hype really - Kaytra absolutely on top of his game, partnership with Aminé flows together just like their names, guest spots on point, vibes upon vibes upon vibes (instrumental version is great too!)

David Harrow is the absolute epitome of real craftsmanship honed over years and years - and this album of dub and downtempo tracks with rich layering of singing modular synths is a really magical exercise in world-building.

OK that's that for now, direct link to Part 2 here....

[elfinaldelcamino]

Op:L Bastards

Constel·lacions Bastardes 15 de 21

¿Conoces a Op:L Bastards? Son un trío electrónico de Helsinki que se formó en 1996 y hacen música que te hace decir "¡guau!". Les he conocido gracias a una búsqueda en el archivo del MoMA de Nueva York, donde actuaron en el marco dentro del PS1's, es decir, la programación de música al aire libre del célebre museo, el 23 de agosto de 2008, ya casi al final de su recorrido como grupo (1998-2009).

Timo Kaukolampi y Mikko Viljakainen (también conocido como Vilunki 3000) lo iniciaron todo, y más tarde se les unió Tuomo Puranen. Después de un tiempo fuera de escena, volvieron con todo en el Flow Festival de 2007. ¡Y no veas lo que triunfaron con su álbum "The Job", que reeditaron por su propio sello, Lafta, ese mismo año! Son unos cracks de la electrónica, y si no los has escuchado, ¡te estás perdiendo algo grande!

En estos enlaces a la música de "The Job" he encontrado inspiración para la producción de música para el proyecto "El Final del Camino" que estoy construyendo a partir de la semilla del universo de lo bastardo. Su música electroacústica generada a trio por numerosos sintetizadores e instrumentos como panderos acompaña a voces cantadas y otros sonidos humanos (risas, silbidos, sonidos guturales) en estructuras harmónicas complejas.

El Trio finés recrea ambientes de libertad donde lo cósmico (Sagittarius, Scorpius) y lo humano (Masqued Lover, Don't Bring me Down) se tiñen de sonidos innovadors con momentos atemporales. Op:I Bastards (1998-2009) mira a un lado y otro del espejo del cambio de milenio de la mano de tres miembros de la generación X.

[eetupellonpaa]

Timo Kaukolampi @ Ilmiö festival, Turku 29th Jul 2017

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 7 / 10

Título Original: Armomurhaaja

Año: 2017

Duración: 83 min.

País: Finlandia

Director: Teemu Nikki

Guion: Teemu Nikki

Música: Timo Kaukolampi, Tuomo Puranen

Fotografía: Sari Aaltonen

Reparto: Matti Onnismaa, Jari Virman, Ilari Johansson, Santtu Karvonen, Hannamaija Nikander, Heikki Nousiainen, Pihla Penttinen, Jouko Puolanto, Alina Tomnikov

Productora: It's Alive Films. Distribuida por Uncork'd Entertainment

Género: Drama, Horror, Thriller

https://www.imdb.com/title/tt6505968/

TRAILER: https://www.youtube.com/watch?v=bUr9XQxc2gU

[soundtracktracklist]

Maria's Paradise Soundtrack

Maria's Paradise Soundtrack by Timo Kaukolampi & Tuomo Puranen #MariasParadise #soundtrack #ost

Original Motion Picture Soundtrack for the drama film Maria’s Paradise (2019). The music was composed by Timo Kaukolampi and Tuomo Puranen.

Source: Maria’s Paradise Movie Genre: Original Soundtrack Music by Various Artists (Timo Kaukolampi & Tuomo Puranen) Label: Svart Records Format: Digital Release Date: March 20, 2020

Maria’s Paradise (also known as Marian paratiisi) is a 2019 Finnish drama…

[monkeyandelf]

New Post has been published on https://www.monkeyandelf.com/2017-end-of-year-edition-in-depth-drowned-in-sound/

2017 End-of-Year Edition / In Depth // Drowned In Sound

Articulate Silences, Ambient Sounds is back. It’s a whole year since the last edition of this column, for which I can only apologise. I’ve been writing about music for around a decade now, usually for little or no monetary reward, and 2017 was the year in which I briefly gave up (almost unconsciously) in the midst of other stresses and strains. Leaving the mind-numbing time and energy black hole that is London in favour of the best city in the UK beginning with the letter “L” (that’s Leeds, obviously; sorry Leicester and Liverpool, I love you both too) in August was a turning point, providing me with a renewed enthusiasm for listening to – and writing about – new music. I fully intend the column to get back to being (semi-) regular again from this point on. If you make or release records that might be suitable for inclusion then email me at avantbland@gmail.com. I simply do not have time to reply to all my emails, but if you send me something clearly labelled as being for this column I will listen to it and – if I like it – I will write about it. You can also get in touch with me on Twitter, which I check more regularly, at @benjamin__bland. For now, have a round-up of some of this year’s highlights. This is nowhere near definitive, but it’s an insight into my favourite ambient releases from the last twelve months or so. I hope it provides you with some suitably contemplative listening material as 2017 bleeds into 2018. See you on the other side.

—

If I had to identify an ambient MVP of 2017 then it would – undoubtedly – have to be the folks at Eilean Records. Eilean has been going for four years now, and almost everything they release is extremely high quality (both musically and in terms of the presentation). 2017 might have been Eilean’s best year yet: sixteen releases, sixteen gems. Listen to them all. The newer releases have not received enough listens from me yet to identify which are my favourites, so I’ll make my life a little easier for now by highlighting the label’s first four releases of 2017. The first of those, Daniel W. J. Mackenzie’s Every Time Feels Like The Last Time, is a work of haunting modern composition, which culminates in the particularly heavenly ‘Smokey Quartz and Our Skin’.

Every Time Feels Like the Last Time by Daniel W J Mackenzie

Equally haunting, like a half-remembered dream brought back to life through stuttering tape recordings, is On The Brink, a collaboration between Josh Mason & Nathan McLaughlin, two masters of texture who both deserve to be far better known than they are.

On The Brink by Josh Mason & Nathan McLaughlin

Old Articulate Silences favourite Monolyth & Cobalt (aka. Matthias van Eecloo, who also runs Eilean) is bowing out (from this project at least) with the brilliant The Dunen Diaries. This is effectively a two-part release, with the second half being a selection of collaborations that build perfectly upon the beautifully elegiac foundations of the record’s first half. Essential.

The Dunen Diaries by Monolyth & Cobalt

9T Antiope’s Isthmus has been something of a revelation for me. This Iranian duo – composed of Nima Aghiani and Sara Bigdeli Shamloo – arrive with a sound that’s somewhere between Grouper’s hazy atmospherics and Jenny Hval’s deliciously unhinged feminist agitprop. The swooping violin loops of closer ‘Telophase’ – which might also tide over those who, like me, spend most of their lives waiting for a new Portishead LP – bring the record to a genuinely soul-stirring conclusion.

Isthmus by 9T Antiope

As long-term column readers will know, two of the most consistent ambient musicians operating today are also from Iran: Siavash Amini and Porya Hatami. Siavash’s latest release, TAR (Hallow Ground) is a storming follow-up to 2015’s Subsiding, which – if you missed it – is one of the best releases of the last decade or so. This new effort is pretty much on a par, reaching a coruscating high point on colossal second track ‘Rivers of Tar’.

SIAVASH AMINI – TAR by Siavash Amini

Porya’s new album, Monads (LINE), might be his most hypnotic effort to date, despite seeing him leave behind his previous focus on melodic ambient composition in favour of a work fitting the microsound focus of the LINE imprint. I’m often fairly ambivalent about work that fits in this category – “ambient glitch” for want of a better term – but this definitely resides in the upper tier of the style.

Monads by PORYA HATAMI

Sarah Davachi’s All My Circles Run (Students of Decay) might just be my favourite LP – of any genre – released in 2017. This is a step in a new direction from Davachi, who has previously impressed largely through her mastery of analogue synths. Here the attention is on electroacoustic composition, but the result is still recognisably Davachi’s. There’s a tonal warmth here that is unmistakably reminiscent of last year’s brilliant Vergers whilst still offering new textures.

All My Circles Run by Sarah Davachi

All My Circles Run’s focus on acoustically-generated sounds rather than on synths may mark something of a departure for Davachi, but thankfully there have been plenty of other places to get a dose of analogue goodness in the last twelve months. In fact, one need look no further than the debut full-length from Téléplasmiste, the duo of Strange Attractor Press head Mark O. Pilkington and Coil/Cyclobe collaborator Michael J. York. Frequency Is The New Ecstasy (House of Mythology) is a truly delightful synth-fuelled trip to a higher plain.

Frequency is the New Ecstasy by Teleplasmiste

The late-arriving trump card, in terms of synth-tastic outings, however, turned out to be Gardener’s sublime A Place Where Nothing Was, the first release from sometime Gnod member Alex Macarte’s new Golden Ratio Frequencies cassette label. An utterly captivating mix of synths with tape loops and field recordings from former Make Noise Synthesizers employee Dashiell Lewis, this certainly marks out Golden Ratio Frequencies as a label to follow closely in 2018, and Lewis one to look out for in the future.

A Place Where Nothing Was by Gardener

Another unmissable late release, Timo Kaukolampi’s I (SVART) is – at least in part – a tribute to former Pan Sonic/Ø legend Mika Vainio, who – as I’m sure most readers will know – sadly died earlier this year. This is a really remarkable first release, with Kaukolampi establishing himself as a gifted creator of widescreen spectral soundscapes. It’s a shame it turned up so close to the end of the year, thus running the risk of slipping through the net.

1 by Kaukolampi

Paris-based Japanese sound artist Tomoko Sauvage has been working with water for a decade now, exploring its sonic properties through the use of hydrophones, which transform the water’s various ripples and drops into music. Musique Hydromantique (Shelter Press) does feel genuinely musical, with Sauvage exploring her subject’s responses in various acoustic environments, each of which generates beautiful minimal soundscapes.

Musique Hydromantique by Tomoko Sauvage

Mary Lattimore, of course, works not with water but with the harp. In some ways, however, the effect is much the same. Lattimore’s is adept at creating pieces that manage to transcend their minimalist focus on a sound source, blossoming into captivatingly evocative multi-level compositions. Collected Pieces is technically a compilation of offcuts from recent years, but that certainly doesn’t make it uneven. In fact, for those unfamiliar, this is an essential introduction to an essential contemporary artist.

Collected Pieces by Mary Lattimore

Leyland Kirby’s The Caretaker project is winding towards its conclusion, and 2017 saw the release of the second and third stages of the mammoth closing statement, Everywhere At The End Of Time. Kirby’s sonic exploration of the progress of dementia, Everywhere At The End Of Time is already a work of enormous significance, only set to become more and more heartbreakingly effective in 2018. You can subscribe to the work for a mere five pounds via Kirby’s own History Always Favours the Winners imprint on Bandcamp.

Everywhere at the end of time by The Caretaker

Followers of Kirby may also have noticed that he slipped something else out this year, the astonishing (free!) gift that is We, So Tired Of All the Darkness In Our Lives. The title sums it up.

We, so tired of all the darkness in our lives by Leyland Kirby

For a more comprehensive (seventy-five track) round-up, including bigger names – not least the predictably fantastic new records from 12k guru Taylor Deupree and from Wolfgang Voigt’s GAS – I’ve created a (ten and a half hour!) Spotify playlist of other highlights from the year. I hope it leads you to many more discoveries.

I must, alas, finish the column on a sombre note. Not only did we lose the legendary Mika Vainio this year, but we must also recognise the passing of the enormously talented young Swedish composer Marcus Fjellström, who sadly died in September, just a few months after the release of his last record, Skelektikon. RIP Marcus and Mika. You will both be missed.

Skelektikon by Marcus Fjellström

Onko by Mika Vainio

Articulate Silences, Ambient Sounds will return in 2018.


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[aphroditelion]

Dance Like No One is Watching  - K-X-P live in The Mezz, Dublin – Saturday 29th April 2017

Saturday evening of the May bank holiday and Dublin city centre is literally and metaphorically buzzing. However when I stepped from the cobbled Temple Bar streets into the dark basement at The Mezz things were rather subdued with a small crowd gathering in unfamiliar surroundings. Thankfully by the time K-X-P hit the stage the crowd had swelled to over a hundred and the subdued atmosphere had become one of excited anticipation.

Normally when I review gigs I go through the songs one by one but, although I have listened to their four albums a good bit, I am fucked if I know what any of K-X-P’s songs are called. I am not sure that even matters because they are hardly songs in the traditional sense, more epic arp-filled movements with enough drone, motorik beats and reverb-laden chants to fill any bank holiday weekend. Main man Timo Kaukolampi handled the vocal duties along with the electronics. From time to time he strapped on a curiously shaped guitar and layered on some fuzz-up riffs. He had only one band mate with him on the night in the form of drummer Anssi Nykänen, whose superior skills ranged between deft high-hat work and pounding toms & snares when required. After about 5 or 6 songs they called it a night. Maybe another song or two would have been nice but I am a great believer in brevity so wasn’t complaining. Utterly compelling stuff.

I can’t go without mentioning the gentleman who danced so enthusiastically all-night in the “no man’s land” between the crowd and the stage. Sporting a booted skinhead look, from the off he danced like one only normally dares in the privacy of one’s bedroom: rolling on the ground, doing high-kicks, stretching and prancing. Amazing.

[lesdeuxmuses]

Timo Kaukolampi & Tuomo Puranen - Maria"s Paradise (Svart Records, 2020)

[ferretsummer]

Disko Anne & Karvaopelit - Rokkibaby (Rock Your Baby)

[swedeandsour]

K-X-P - Magnetic North

For their latest video "Magnetic North", Berlin-based Finnish krautrockers K-X-P picked up some rather unusual footage. Shot in 1986 by Kimmo Kuusniemi to supposedly soften the tough guy image of drinking and driving to the rock 'n roll generation of the late 80s, the public service announcement never made it onto Finnish airwaves because it supposedly made drinking and driving look like fun. Contacting the director nearly 30 years down the road, the electronic buzz of K-X-P's "Magnetic North" was seen as suiting fit to the surreality of Kuusniemi's ambiguous work as camels, green monsters and polar bears jump into the car for one heck of a joyride.

Strap yourselves in 'cause you're going for a trip:

K-X-P "Magnetic North" directed by Kimmo Kuusniemi (2013) from K-X-P on Vimeo.

[suomisoundsmofos]

Oh boy, electrokrautrockers K-X-P are at it again! Their new video for a track called Magnetic North is surreally psychedelic! And if it looks authentic in a strange way, it's because it kinda is.

The footage comes from a public service announcement made for the Finnish Traffic Safety Society (Liikenneturva) back in 1986. The original title of the announcement is Drinking ‘n’ Driving and there was a whole bunch of these made by director Kimmo Kuusniemi, who also happens to be the frontman of Sarcogafus, Finland's first heavy metal band (founded in 1977).

The Finnish Broadcasting Company (Yle) and the movie theater chain Finnkino showed many of his awareness clips in the 1980's, but Yle actually cancelled this particular one as it made drunk driving look like too much fun (check out the original here).

And for all of you who love this music the vital info is that K-X-P has a new album out called II (like the number 2 in Roman numerals).

[phinnweb]

K-X-P: 'Easy (Infinity Waits)' (2011)

Band: K-X-P facebook.com/​kxp.official Song: 'Easy' Record Label: Melodic melodic.co.uk/​k-x-p/​

Directed by Koja WeLikeToPlay.com DOP: Mirko Beutler Edit: Tobias Eiving

Direct link: http://vimeo.com/32110287

[lesdeuxmuses]

Timo Kaukolampi - 1 (Svart Records, 2017)