Honest Jon’s Records has just published the new 12″ EP by Moritz von Oswald Trio (w/ Sasu Ripatti). Meditative, absorbing dance music in true Moritz style — at times seemingly transfixed by its own elements, and minimal almost to vanishing-point, but quickly back ticking, kicking and amassing, with the lethal dubwise density of the classic Berlin sound. More information on this release…
Some live footage from the recent concert at Umbria Jazz, July 12th 2013, Perugia, Italy. Video by Carla Caroli. Enjoy.
Levite by Vladislav Delay. See full album info here.
Recorded live by Upfrontsociety on May 4th 2013 at Buka, Milano, Italy. Thank you.
Here’s a first studio shot of the new HEISENBERG project by Vladislav Delay and Max Loderbauer. There’s more to come.
Lumi (Edit 2013)
Here’s a new Lumi 2013 edit of the 2007 original from the acclaimed “Whistleblower” album release. Igloo Magazine on Whistleblower: “Each track contains so much action that its like getting two albums worth in one sitting. The aggressive clanking and buzzing, the rattling chain-gun percussion, and the controlled feedback of “Whistleblower” all add up to an unsteady, stumbling beast of a track, barely-restrained percussive violence around every corner.” Enjoy.
Review by Chain D.L.K. Written by Vito Camarretta.
After the appetizer of “Espoo”, a sort of sidetrack and bridge between his previous album “Vantaa” and present day, Sasu Ripatti aka Vladislav Delay keeps on feeding his “psychogeographical” sonic series about Finland, his beloved country, by a release named after Kuopio, the second urban area in terms population density after Helsinki. By means of this good album, the mutation of Delay’s sound seems to have been completed in the bargain: even if it could sound less irregular and somewhat close to more chewable stuff, Sasu manages to mould a sound, which sound mature and elegant both when he contours more physical sonorities as it happens in the first part of the record in authentic master strokes such as “Avanne”, “Hetkonen” or “Osottava”, where he almost renders ice, crystal, metal, timber, empty logs or even crumbled stalactites by means of sounds, smoothed with suspended pads and muffled reverberations, and when he tacks towards more bouncing tracks and amazing hybridizations which manage to preserve the typical matchstick structure and modular progressions of his style. There are many gems which seem to be squeezed from Kuopio’s spirit – a people-orinted environment, where it seems there’s a careful and balanced policy on cultural life, environment, transportation and arts, which probably influences people’s mood, as it seems that Kuopio inhabitants are more jovial and talkative and less melancholic and reserved than other Finnish citizens – in order to encrust it on listenable support….
Published by Fifteen Questions
When did you start writing/producing music – and what or who were your early passions and influences?
I started at the age of 5 with classical percussion and drums, jazz later on, death metal in between. I switched from sticks to electronic equipment and music production at about the age of 20, in ’96, and released my first productions in ’97. My early influences are all over the place. Frank Zappa was very huge on me, Miles Davis and many drummers that played with him, lots of other jazz stuff. Metal was a big influence on me, Carcass, Napalm Death, all that Earache stuff for example.
What do you personally consider to be the incisive moments in your artistic work and/or career?
They must still be coming.
What are currently your main compositional- and production-challenges?
To cross from the ambient/experimental stuff I do into somewhere else, to play more with rhythms and beats while not trying to jump onto any bandwagon or trendy thing. Overall, the same challenge has been there for me since the day one; to create something new and not to repeat myself too much.
What do you usually start with when working on a new piece?
It’s a principle already, I try to start every time differently. I also dislike routines and anything that creates laziness and comfortable situations. It just kills creativity and personality and fills the planet with even more generic sounding something.
How strictly do you separate improvising and composing?
I really don’t care at all. I don’t think or analyse that much anyway; I think it’s a waste of time while you could be actually making music. Then again, I do spend a lot of time thinking about music but very different stuff. But I improvise and I compose, maybe improvise more than compose. But to answer the question, I don’t separate them at all, whatever works.
How do you see the relationship between sound, space and composition?
I see millions of possibilities there.
Do you feel it important that an audience is able to deduct the processes and ideas behind a work purely on the basis of the music? If so, how do you make them transparent?
Quite the contrary. I don’t think it should play so big a role in how music is being made. I’m quite egoistic when it comes to music and I actually don’t think much at all about the audience when I make my own music. This is personal music and I do it purely for private reasons. I think the audience, like myself, shouldn’t think too much about the processes and so on, if it works it works and if it doesn’t, I don’t think it will get much better even with lots of thinking…