With the harsher end of techno amidst its greatest renaissance in over 10 years, it is just fitting that one of the principal bosses of the frame has ended up back sought after. It's not as though he ever went anyplace; Mika Vainio is effectively one of techno and trial electronic music's most productive specialists, with a discography that extends crosswise over kind partitions, assumed names, a couple of the range's most regarded marks, and apparently unlimited coordinated efforts with long haul accomplices and in erratic gatherings.
For somebody who's put thirty or more years underway and electro-acoustics, Vainio is shockingly humble about both his methods and his objectives: a couple of basic machines, a couple of hand crafted noisemakers, persistence, and his instinctive, improvisational way to deal with music are the fundamental parts to accomplish the dispositions he looks for. Advancements are coaxed out purposely, and final products are various.
Perhaps energized by his extraordinary, long running association with Ilpo Väisänen in their pair Pan Sonic, Vainio's vocation has flourished with extremes. They were most clear on the combine's records, which regularly included moderate beat tests rubbed straightforwardly against short upheavals of burning electronic clamor. The interchange appeared to get more serious as time went on; their 2004 four-collection set Kesto included a plate each of the different styles they were known for – uproarious modern, moderate rhythms, rambling tonal tests, and immaculate encompassing pieces – and their 2007 and 2010 endeavors for Blast First Petite contained some of their harshest additionally most arrestingly wonderful work yet, with sections joining live acoustic instrumentation and considerably louder upheavals of industrialisms.
Vainio himself was minimal more unsurprising in this time and a while later; since Pan Sonic's 2010 disintegration, he has made surrounding records for Touch, recorded in ad libbed jazz-clamor outfits for PAN and Honest Jon's, and discharged Life… It Eats You Up, his 2011 exertion for eMego that was as prominent for containing almost unrecognizable Stooges covers as it was for being one of his harshest, most non domesticated excursions ever, and in addition one of his generally concrete.
Indeed, it appears that Vainio's music has as of late taken a general turn towards more solid reference focuses: Kilo is an extremely proper analogy for the pictures of gravity, gradualness and weight that the music introduced here summons. The track titles themselves go with the same pattern, refering to subjects of rotting industry mixed with nautical references: 'Rust', 'Wreck', 'Docks', 'Cranes', 'Payload'. With regards to this symbolism, the music has a moderate, stumbling cadenced base, much like the enduring forward movement of a vessel against a tempest of brutal components, and more settled snapshots of gloomy, rotting sonics substitute with more savage upheavals of commotion and power gadgets while the beat pushes on.
Konstellaatio, his first full-length in three years under his incidental mononym Ø, is a flawlessly grave dream. Konstellaatio offers a few sonic and elaborate attributeswith the slow wave of doom-oriented electronic musicians that have become out of darkwave, shoegaze and overwhelming metal as of late.
Over these nine tracks, Vainio juxtaposes blanketing drones with breezy consoles, cut beats and beeps with apparently no-limit bass. These moderate movement traverses treat the delightful and the undermining as fundamental supplements, just as he were a blood and gore movie chief with an eye for both stun and true to life polish. For its general hostility and mass, Vainio's back index can scare, even off-putting. However, Konstellaatio is iridescent and ghostly, the kind of liminal record where the lovely sounds evoke the creeps and the grimmest tones feel like exhalations. Likely by minimal cognizant outline, Vainio is the complex contemporary of acts, for example, Demdike Stare, the Haxan Cloak and Andy Stott, at any rate incidentally. In the event that there's a development among such gatherings, Konstellaatio justifies more than specify with it.
Mika Vainio and Franck Vigroux’s collaborative album Peau Froide, Léger Soleil is portrayed “an exercise in sensitive intensity, drifting the whole space between minimalist meditations and maximalist kinetics”. The combine initially performed together live in front of an audience in 2012. Following three years really taking shape, Peau Froide, Léger Soleil was released by Cosmo Rhythmatic, the Berlin based label established in 2014 by techno producer Shapednoise as a team with D. Carbone and Ascion.
... Whatever the case the plucky Finn has rightly positioned himself as a leading light in the noisiest corners, without ever losing his grip on more structured techno creations within the sonic chaos. French composer and performer Franck Vigroux meanwhile has led an equally varied life in experimental music, working as a multi-instrumentalist with many different artists, but also spending much time performing live with Vainio as an equally dedicated investigator of tone generation and manipulation. .
The music for Mannerlaatta was composed from the get-go in the film's more than two year advancement, and in this way held a solid influence over the rhythm of the film's editing and visual narration. As Vainio tends to utilize a set-up of homebuilt pack (entirely no portable PCs) unaltered from his most punctual preparations, each new discharge is viably an unpretentious adjustment/refinement of his brutalist yet material procedure of creation. Furthermore, passing by that course of events of occasions, we'd hypothesize that Mannerlaatta was considered some place in the wake of his stunning Kilo LP and the astonishing Konstellaatio side as Ø, which is generally where its feel additionally lie.
The hour-long score separates to 6 areas, each investigating the full recurrence range of his protected, greyscale tonal palette, to a great extent swerving a settled cadenced meter to involve a weightless, outta achieve mid-ground that tempts us headlong into his chasmic plans and, we'd envision, best suits the highly contrasting film symbolism.
Key to the recording's allure - as with the best Vainio equip - is that fringe feeling of spatial element and his unusual control of sufficiency; regardless of whether dangling us over deep subbass measurements, needling with frigid prongs, or incidentally easing the pressure with prodding cushions which dissipate again into the æther just as they were never there, eventually abandoning us riveted and at his leniency for the length.
Mika Vainio is the Finnish master of driving electronics. Whether for its history with the incredible Pan Sonic or for its solo work, either in its own name or as Ø, Mika Vainio is a name that can not be avoided in a dissertation on the experimentation and exploration of industrial sound exhausts.