SlowHill: Muzak
SlowHill relies on the same sound as on their previous albums: meditative woodwinds, tranquil trip hop beats, gentle keyboard harmonies and jazzy guitars.
SlowHill relies on the same sound as on their previous albums: meditative woodwinds, tranquil trip hop beats, gentle keyboard harmonies and jazzy guitars.
Kap Kap gets most of its influences from 1960s–1970s hypnotic krautrock, but the final product contains also traces of Ennio Morricone’s epic movie themes, Giorgio Moroder’s synth sounds and Primal Scream rock mysticism.
Named after the rapper-singer-producer-songwriter Superjanne’s native Helsinki district, Munkkisaari is a down-to-earth record that doesn’t beat around the bush.
Shine 2009 combines the spirit of Gothenburg’s balearic pop bands like with the wild years of Ibiza and the Madchester mania.
The main reference of hypnotic music of K-X-P is krautrock from 40 years back, but they do throw in a few afrobeat rhythms, ominously cinematic keyboard sound walls, hippy Middle Eastern melodies and some dancey pulse.
Kemmuru’s hip hop is traditional while being modern, and loose and lazy while being impeccably skilled. Their rhymes merge realistic Average Joe stories with absurd surrealism.
The musicians of Ricky-Tick jazz label have succeeded in what few others have before: they have brought big-band swing-jazz credibly into the 21st century.
The debut ep of Koobra is a combination of Italo disco, eighties’ synth pop sound and Balearic house with female vocal samples, in true nineties’ handbag house spirit.
Seili is filled with etheric yet catchy electro pop tunes blown up just enough to hit radio and the charts.
A long-haired man drives a Helsinki tram by day and plays almost every instrument on his records himself.