The artwork of “Konstellaatio” gives a clue to the foundations of Mika Vainio’s new album as Ø. It’s about summers in the Nordic countryside, grandma’s mythological tales from the memorable days between self-indulgence, when kids went picking wild strawberries under the burning sun, and suspense, when they were spying at a hauntedRead More →
At first glance, “Tia” makes deliberately an odd impression with shaky percussion and electromagnetic disturbance, as of low-end equipment would have been used. But this is just a transient disguise before Teersom’s 12-inch on Sähkö’s sublabel Keys Of Life reveals its very essence and brings deep and fresh sounds toRead More →
Click to enlarge Sähkö’s Tommi Grönlund speaks to the London techno zine Alien Underground in 1994. The first part is here.Read More →
Click to enlarge A copy of London techno and hardcore zine Alien Underground, predecessor of Datacide magazine, was an appreciated souvenir from a trip to London in 1994. In addition to a number of reviews and articles it features also an interview with Tommi Grönlund, the founder of Sähkö Recordings.Read More →
Sähkö’s Puu offshoot has been mostly a platform for jazz, dub, world and other non-techno productions, but in 1996 it saw a guest appearance by Mika Vainio under the name of Tekonivel (‘artificial joint’ in Finnish). The circus-themed three-tracker is not exactly family entertainment – although not as annihilating as “OsastoRead More →
“Obscur. Final”, a follow-up to the first “Obscur” edition by Semantica label head Svreca, heads the Terminal 313 best-of list with a strong techno package, including the remixes by Regis, Orphx, Silent Servant and Skirt. Vakula dropped two fine cuts under the Vedomir guise, releasing “Orthodox Ambient” on Dekmantel andRead More →
VVV – vicious, vibrating, volcanic. A joint ritual by Alan Vega, former vocalist of the protopunk combo Suicide, and Finnish masters of low frequencies Mika Vainio and Ilpo Väisänen, better known as Pan Sonic. Caution: Listening to this could harm your artificial pacemaker or other electronic appliances. A nasty startRead More →
Anatoli Alexandrovich, whoever he is, made this album in 2002. A musical insight into the more or less glorious days of the Russia’s history, painted with minimal and noise-influenced experimental compositions and spiced with sound fragments like worshipping of Stalin in Finnish-language, Karelian folk song and clinking of swords. “Спутник”Read More →