Kuva Vesa Mäkinen

A recipe for a budding artist includes making music that is honest and personal, touring a lot, posters, stickers and touring some more. “Easy,” says ALEKSI PAHKALA of record store Stupido Shop. They’ve managed to stay relevant amidst the revolution of music distribution by keeping their eyes open and working to find new artists.

The top four tracks of Stupido website jukebox are Peikkojumppaa by Hovinarri, Loinen by Kumikameli, Hulluna Humpasta by Eläkeläiset and Lämpöö ja lempee by Kaikukast. All sound a bit crazy in Finnish and it’s easy to think that the top list is a joke, but all of the artists are signed to Stupido Records, a record label that birthed Stupido Shop in 1995. Since then the label and store have gone their independent ways. One of the founders, JOOSE BERGLUND, is running the label, while the other, JORMA RISTILÄ, is running the store with Aleksi Pahkala.

Stupido Shop is often seen as a near-legendary indie store, but their selection includes records from punk to chart pop, jazz to classic, death metal to gospel, kids’ music to humppa and electronic hiphop. “We’ve got the annapuus and whatnots in addition to LCD Soundsystem and weird Finnish vinyl releases. There’s never been a clear-cut policy,” Pahkala says. “We just want to offer good music and service and broaden the Finns’ musical tastes, and our own as well.”

“We’re all quite privileged, because we get to do what we like. It’s fun to work with music – it makes you scream, cry, relax, party and shake your ass. Finding new music, recommending good records, producing experiences and following the careers of Finnish bands from the early stages to their big breakthrough,” Pahkala lists the perks.

Quality or quantity?

Record sales are declining globally year after year, but according to Pahkala, the death of large record stores hasn’t impacted sales too much. “Small dips affect us as well,” he admits. “However, in Finland record stores have a symbiotic relationship. We refer people to Popparienkeli, Livesaver, Digelius, Stockmann, Jäänsärkijä and other stores if necessary.”

“The digital revolution has brought more work for our staff, because people ‘find’ dozens of new bands every week, and they ask for them as well. I think a more negative influence is that good Finnish acts can’t get onto Yleisradio’s playlists and into the national media. The TV’s been shit for years, too,” he grunts.” “Bring back Levyraati!”

“I feel like there are way too many records released nowadays – people focus on quantity instead of quality and try to push hits through with SMS voting,” Pahkala scoffs. “We’ve always said that good music sells, and in many formats.”

The Mecca of small publishing

Many audiophiles have re-found vinyls because of their sound, which is known to please the ear. But even CDs have good sound compared to the average online file, not to mention the covers and cases, which are disappearing thanks to the online revolution.

Stupido orders in almost everything that’s released in Finland, which is practically well over a hundred titles a week. “Our staff are music fanatics, and all of them follow music in their spare time, all the time. New artists are found every day, but the most important thing remains the ears and inquiries of our customers.”

At the moment, the rising Finnish starts are, according to Pahkala, Villa Nah, Cats on Fire, Joensuu 1685, Manna and Astrid Swan. “Some have gathered some attention abroad, but in Finland they all deserve much more national radio and TV attention than they have gotten.”

“As the latest Finnish gem, I’d like to point out Monsp artist HEIKKI KUULA, whose incredible Finnish version of a Kings of Convenience song is sure to attract attention also outside our nation’s borders.”

One of Stupido’s urban legends claim that the company turned down Darude, who then became a world-wide phenomenon. “This is a classic one,” Pahkala says. “One of our friends was visiting Helsinki with this guy called VILLE [VIRTANEN], who had just picked up his first single from the press and asked if we would like to sell it. So yeah, I listened to it and said, ‘thanks, but no thanks’. Sandstorm only became the bestselling single in the world that year, haha. On the other hand, I’m still less miffed than amused.”

“Nowadays we take in all small releases. And when we did take in the Darude single, I think we ended up selling like two copies of it. Give my best to Ville,” Pahkala laughs.†

Iso Roobertinkatu 23, 00120 Helsinki. www.stupido.fi

Text Petteri Kainulainen Photos Vesa Mäkinen

Illustration Nene Tsuboi.

What comes to your mind when thinking about the sounds in Helsinki? Is it the trams, seagulls, the wind or perhaps silence. The city is quite minimal in its sounds, a quality that makes it unique. However, this uniqueness sometimes leaves you yearning for more variety, volume and spontaneity. Here we take the opportunity to think about how to design a more interesting Helsinki from the sonic point of view.

1. Concrete music

In Helsinki courtyards are often reserved for household activities, like waste disposal or carpet beating. Other than that, they are mainly used for passing through. There are sounds that big bins make when they open and close and the clatter of steps when people walk home. However, inner yards could emit other, more cozier sounds as well.

If they featured more gardens, tables and chairs – places to meet and spend time in – there might be a hum of longer and shorter conversations, jingling of cutlery and plates and the sounds that gardening creates.

2. Avian melodies

Some clichés are true; birds’ singing makes most people happy and if Finns love nature, why not bring more of it to the city? If Helsinki were to have more trees and small parks everywhere, there would also be more rustling of leaves and songbirds of different kinds.

Illustration Nene Tsuboi.

3. Metropolitan instruments

How do we make the most out of asphalt, the dominant flooring material of the city? We would like to hear more click-clacking of high-heeled shoes, tapping of canes used by the elderly people taking to the streets, rattling of skateboards and naturally, the sound of bikes skidding and braking. Maybe street fashion blogs, open-air dance floors or better city bikes will eventually turn the people of Helsinki into an orchestra.

4. Lingual mix

With Finnish and Swedish as the official languages, Helsinki is already a bilingual city and other languages such as Russian are being heard more and more every day. Bringing more ingredients into the mix through more open immigration policies and creating a babel of languages along with their accents, dialects, volumes, rhythms and intonations would make Helsinki sound more interesting.†

Text Anni Puolakka & Jenna Sutela / OK Do Illustration Nene Tsuboi

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OK Do is a creative think-and-do tank tackling emerging questions at the intersection of design, art and science. www.ok-do.eu

Janne Lounatvuori / Kaiku Studios. Photo Johannes Ekholm.

Indie is the new mainstream, and electro is the new dance. Finnish electro artists and record companies are making club-goers and electronic music fans dance all over the world.

Seven years ago, Finnish rock made its way into more ears around the world than ever before. The Rasmus made their breakthrough with Dead Letters, the most successful Finnish record ever, selling platinum in five and gold in eight countries. A couple of years later, HIM broke into the US top 20 with their album Love Metal.

After that, Finland’s mainstream rock factory started to slow down. After Sunrise Avenue’s short hit career, the last couple of years haven’t been a blast for Finnish rock bands – at least measured by success abroad.

What’s often called real metal is of course another thing. Hardly anyone will deny that it’s the pride of Finland, its trademark and number one export.

The music industry has of course gone through significant changes during this period. Mainstream arena rock isn’t a tempting product in its ancient form. Instead the demand for smaller genres keeps on growing: in the early 2000s, electronic dance music was a marginal genre, but at least to a younger generation, it’s starting to be the standard soundtrack for parties.

Produced by JAAKKO ”JS16” SALOVAARA, hits by Darude and Bomfunk MC’s put Finnish dance music onto charts all over the world already 10 years ago. In 2010, Finnish electro, techno, house and synth pop are plentiful and of high quality. Finnish electronic music has also been noticed abroad – even better than in Finland.

Le Corps Mince de Francoise. Photo Johannes Ekholm.

Varieties of electro

The amount of different electronic club music and pop is impressive. Perhaps one of the most active parties is Top Billin, a label producing more club music in digital form than anyone else in Finland. Songs both by Top Billin as a label as well as its artists like Femme En Fourrure are making their way around the world with travelling DJs and music blogs. Top Billin’s sublabel Nightrunners focuses on the more melodic, italodisco-influenced house produced by e.g. Helsinki 78–82 and Koobra. Top Billin also publishes a lot of fresh music from abroad.

The artists of label New Judas, such as Huoratron, Les Gillettes, Downtown and Le Corps Mince De Françoise, are travelling the world constantly, even though the company isn’t as steady with its releases. The side project of Downtown a.k.a. VILLE HAIMALA, the duo Renaissance Man, specializing in house, blew up almost overnight.

New electronic pop duos are perhaps more prevalent in the media because their style of music pleases a broader audience. Alongside this year’s biggest name Villa Nah, indie-oriented Zebra and Snake, perky TV Off and humoristic synth duo Jesse have been in the public eye. Awaiting larger attention are Shine 2009, a ‘90s club pop wiz, and Hannulelauri, who is doing epic instrumental disco.

Skweee and electronic funk artists such as Eero Johannes and Randy Barracuda gather much more attention abroad than in Finland. Of the older names at least JORI HULKKONEN and Op:l Bastards still make relevant music.

Into Berlin

However, many artists have left Finland in favor of greener electro pastures. Although in the early 2000s masses of artists fled to Barcelona, Berlin has now become the unofficial second home of Finnish musicians.

“I don’t know if it’s easier in Berlin, but at least there are more opportunities and professionals there. At least for our genre there are more venues, people, artists and collegues,” says JONAS VERWIJNEN of the Kaiku studio founded in Berlin by Finnish musicians.

“I also love Helsinki, but somehow I can work more in Berlin, although there’s a lot of unemployment here. That doesn’t mean that I couldn’t work from Helsinki, but it’s more like a personal preference,” say Verwijnen, who produces music and manages bands through Kaiku.

Kaiku works hard for Finnish bands abroad by offering them production, contacts, tours and consulting. Their clients include Norwegian Whitest Boy Alive, King Of Convenience and Annie, and Finnish Joensuu 1685, Zebra and Snake, Le Corps Mince De Françoise as well as many New Judas artists.

Obi Blanche. Photo Johannes Ekholm.

Aiming for the wrong market?

Earlier this year, HIM released their seventh album Screamworks: Love In Theory And Practice, which quite expectedly went to the top of the charts in Finland and even in Britain. Despite this, the album was a disappointment even to old fans, and it has sold less than HIM’s previous release.

A less anticipated release, Villa Nah’s debut album Origin launched in March. Surprisingly the album reached the number seven spot on the Finnish list. As 2010 rolled around, few people even knew what Villa Nah was. The album has been received very positively in the media abroad, and music blogs have noted it as well. The band’s success is still very marginal compared to a giant like HIM.

“Maybe it’s an illusion of sorts. Renaissance Man, Top Billin and the like are still underground phenomena. However, it does tell you that there are contacts, and we know how to export Finnish electronic music. That’s fucking cool, because if we don’t, someone will,” ponders electro musician Randy Barracuda a.k.a. PERTTU HÄKKINEN, who was part of Imatran Voima and recently released his solo debut

The phenomenon is clearly visible: Finnish electronic dance music has more demand abroad than ever before.

“We don’t think about the market or understand it at all. We make music just out of the joy of making it. I think of us as this weird little band,” says JUHO PAALOSMAA of Villa Nah. however, the album of ‘this weird little band’ was called ‘timeless pop’ in British Q magazine, and according to NME, they are ‘reigniting electropop’s romantic flame’.

Ten years ago pioneers like Jori Hulkkonen, Jimi Tenor and Pan Sonic were more like funny curiosities to Finns, although they garnered appreciation elsewhere. The attitudes have drastically changed in the last couple of years, and today’s artists have a much brighter future to look forward to also in Finland.†

Text Teemu Fiilin Photos Johannes Ekholm

Eero Johannes.

Graphic designer, illustrator and musician Eero Johannes (born 1986) does illustrations by day and music by night. The musician, whose graphic design studies are on hold at least for now, calls his electronic music “laboratory-produced funk”. His biggest influences are 1970s and ‘80s boogie and funk. “Those get me excited every time,” he stresses.

Retro influences can also be found in his futuristic and geometric illustrations. The game-like style is familiar to many from album covers and club posters.

Johannes’ dearest work project has been his “Chinese conquest”, the Sounds Like Suomi 09 tour that travelled around China in 2009 taking Finnish electronic music to local clubs and festivals.

Electronic music, especially spinning records, and graphic design seem to be, for whatever reason, a near-classic combination. “It’s an interesting trait,” Johannes laughs. “Both are about combining different elements and pieces. Choosing typography and illustrations for a poster is kind of similar to piecing together drum sounds and beats and throwing in some samples. It’s about building a larger whole from somewhat pre-made elements.”

Nolla club posters.

Hannulelauri, Supermonkey EP.

Eero Johannes record cover.

www.myspace.com/eerojohannes

www.pekkafinland.fi/eerojohannes

Text Heini Lehtinen

(Smalltown Supersound)

K-X-P is a groundbreaking rock trio consisting of TIMO KAUKOLAMPI and TUOMO PURANEN of Op:l Bastards fame and ANSSI NYKÄNEN, a weathered session drummer. The main reference of their hypnotic music 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. Kaukolampi’s idiosyncratic singing style has been sorely missed, although it comes only in small doses this time. Here and there you can also make out the distant breathy vocals of Norwegian pop princess Annie.

www.myspace.com/kxpofficial

www.smalltownsupersound.com

Text Teemu Fiilin

Photo Lahti University of Applied Science / Hub Helsinki.

”Get rid of the lawn, put flatland and some objects there, and there should be another pool in the park.” Along with new skate parks, Helsinki’s citizens wish for art streets, meeting places and opening homes for travellers.

In May, the City of Helsinki and Hub Helsinki organized a brainstorming day for citizens. The aim of the day was to collect citizens’ thoughts and ideas for developing the city. Throughout the day over a hundred discussion and brainstorming events were held in Helsinki, Espoo, Vantaa, Kauniainen and Lahti.

“In every city, the basic concept was to have small events as well as idea patrols polling the people throughout the day and asking for their ideas to help develop the city,” says SAMI OINONEN of Hub Helsinki.

Over 2 000 idea cards were filled at events and on the streets. In addition to that, people had the chance to leave their suggestions on the World Design Capital 2012 website until the end of May. Ideas came in from all kinds of people from skater boys to young families to elders. At skate parks, the youngsters not only wrote down their suggestions, they also included schematics and shapes of the ramps and pools they wished for.

“We got thousands of ideas. The vast amount tells us that citizens want to take part in the brainstorming. People didn’t have a problem with sharing their ideas on the streets as the patrols approached them, either,” Oinonen recalls.

“In events like this, there is usually a standard quota, about one percent, of significant ideas that the city hasn’t already thought of before. This tip of the iceberg has certain themes and areas that we can assign a responsible party to. So out of 3 000 ideas we’ll get about 30 very good ones.”

Doors into the city and its homes

Hub Helsinki, which consists of professionals of various fields, divided the ideas into eight themes. The report was handed to the city, and an English version to ICSID, the organization behind the World Design Capital venture.

Cleanliness and the optimization of waste management were among the most themes that produced the most ideas, perhaps the best of which was adding waste bag vending machines into parks. Another top theme was making the city more welcoming by improving facades and park routes.

“Accentuating the local traits and identities of different districts was a broad theme. How do you accentuate a local trait? Käpylä has a strong identity, but how do you create a similar feel of connectedness in other districts?” Oinonen asks. “Another strong concept was everyday design. People want to have the chance to leave their own mark into the cityscape. One brilliant idea was making Fredrikinkatu into an art street for citizens.”

“Many people also pointed out that design is for everyone, and that the people should have the chance to partake in ‘home sherpa’ activities, opening up their homes for travellers. With this kind of activity, we can offer travellers a whole new perspective into Finnish life.”

One of the most interesting themes deals with bringing together citizens across age or nationality barriers. “Citizens want diverse gatherings, events, random meeting places and networks, theme parks for children and adults. How could old people’s homes and kindergartens be more in touch with each other?” Oinonen ponders. “Many expatriates stay within their communities while Finns stick to theirs. How could we further internationality and communication?”

Making ideas come true

It would be easy to fall into cynicism and think that while ideas have been collected, nothing actual is going to happen. However, Oinonen feels that the ideas are meant to be realized.

“The point of dividing the ideas into themes is that that way they’re easy to appoint to someone. Suggestions don’t come to life if someone doesn’t step up and take responsibility,” he says. “For example, the idea of a string of skate parks could be discussed with the Youth Department and kids. Ideas and services can even help start new companies.”

“It’s important that some of these ideas get done already this year. Some pilot campaigns could take place during Helsinki Design Week at the end of August, and new services have to be launched in 2011. When the design capital year 2012 rolls around, we can offer citizens a compound of new events and services. After that, the process will continue in different forms on many fronts.” †

Text Heini Lehtinen

Helsinki was elected World Design Capital 2012 in November 2009. A series of articles in We Are Helsinki will detail Helsinki’s journey towards the design year 2012. www.wdc2012helsinki.fi

]]> http://www.wearehelsinki.fi/idea-of-a-city/feed/ 1 http://www.wearehelsinki.fi/kemmuru-meilta-puuttuu-kaikki/ http://www.wearehelsinki.fi/kemmuru-meilta-puuttuu-kaikki/#comments Fri, 02 Jul 2010 08:51:37 +0000 maiju http://www.wearehelsinki.fi/?p=1809

(Monsp Record)

Ever since their album Kehumatta paras five years ago, Kemmuru has been one of the most reliable names in Finnish hip hop. Beat wizard and rapper Aksim, MC Jodarok and DJ J-Laini spit hip hop that is traditional while being modern, and loose and lazy while being impeccably skilled. Their rhymes merge realistic Average Joe stories with absurd surrealism. If Aksim was from the US, his soft funky beats would have surely made him one of the most sought-after rap producers!

www.myspace.com/kemmuru

www.monsp.com/kemmuru

Text Teemu Fiilin

(Ricky-Tick Records)

Led by composer-arranger VALTTERI PÖYHÖNEN and legendary producer OTTO DONNER, 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 fifteen-strong band (featuring musicians such as TIMO LASSY, JUKKA ESKOLA and ANTTI SARPILA) play completely live and succeed in bringing to life Pöyhönen’s compositions, which are reminiscent of the 1930s glory days of swing, while avoiding the pothole of becoming disposable, shallow entertainment.

www.myspace.com/rtbb

www.ricky-tick.com

Text Teemu Fiilin

(Top Billin/Nightrunners)

The debut ep by duo Helsinki 78-82 aroused a lot of interest with its combination of Italo disco, eighties’ synth pop sound and Balearic house. If you liked the sound, you are likely to dig the debut ep of Koobra a.k.a. KALLE WAHLBERG, one half of Helsinki 78-82. The sound is basically very similar, although Koobra’s songs also feature female vocal samples, in true nineties’ handbag house spirit. You can find the digital three-song ep in connoisseur digital music stores as well as at Top Billin’s website.

www.myspace.com/koobra

www.topbillinmusic.com

Text Teemu Fiilin

Kiki Pau. Photo Osma Harvilahti.

Kiki Pau is a lovable exception in today’s music scene. The band has been labeled an over-trendy indie group from Helsinki’s Punavuori, but Kiki Pau is in fact as organic as a rock group can be in today’s world.

Influenced by 1980s and ‘90s alternative rock and 1960s and ‘70s classic pop, Kiki Pau gathered a wealth of positive attention from both critics and music bloggers two years ago with their ironically named debut Let’s Rock. While Let’s Rock focused on fast-paced three-minute pop songs, on their second album White Mountain, released last spring, the quartet could stretch their limits and linger in different moods. To say that they’ve grown up would be a bit much, but maybe they’re starting to hit puberty.

“On the first album, there’s a whole lot going on all the time. The only calm moments came between songs. We wanted to include more moments when there’s not that much happening,” ponders Kiki Pau guitarist PAULI SAARIKIVI.

Respect for older sound

Respecting vintage aesthetics, Kiki Pau recorded White Mountain mostly live in Porvoo’s Magnusborg studio, which is built in an old wooden house. The sound was fine-tuned already at the recording phase instead of using a computer afterwards, which seems to be the case for unfortunately many rock records these days.

“We all dig music, and we adamantly think that records used to sound better,” states singer-guitarist HENRIK DOMINGO.

Kiki Pau. Osma Harvilahti

“We’re going for an old-fashioned thing, where four personalities are playing on the record, each with their own style. We’re trying to avoid music made in Pro Tools that has 140 layered guitars and ends up sounding like spiritless mush,” Saarikivi laughs.

Only the music matters

Kiki Pau differs from its competitive contemporary colleagues also in attitude. While many bands are focused on embracing social media, pleasing the press and achieving maximal air time, Kiki Pau is more interested in making new music – even over touring. Kiki Pau doesn’t long for fame or see the need to prove anything to anyone.

“When making music, you should strive to minimize your ego and inch closer to the things that are real. We try to make music simply something fun that we can do between the four of us,” Domingo ponders.

“For a lot of people, updating Myspace and Twitter is just as important as making music. For us, not so much,” Saarikivi grins.

Local heroes

Regardless of this, Kiki Pau has received a lot of attention on music blogs over the world and even toured abroad on a low profile. However, they aren’t longing for world-wide fame, but rather enjoy what they have at hand – even if it’s just local dabbling.

“If what we’re doing in Helsinki works, why can’t we just enjoy that and make it as cool as possible? If people are coming to our gigs here and like what we’re doing, there’s no need to look down on that,” says bassist ALEKSI GUSTAFSSON. “We would lose the enjoyment of making music if we worried about not being on tour in the States. Although that is where we get the best feedback from.”

After all, the reality is that an indie rock group from Finland isn’t – at least not yet – a true sign of quality around the world. At least not like an introverted forest folk artist or an export metal band.

“The label ‘Finnish indie’ combines two concepts that don’t really blend together,” Gustafsson smirks.

Maybe so, but that doesn’t seem to slow down Kiki Pau. This summer you can check out their live form in Helsinki at least in Alppipuisto’s public festival on July 10 and at Flow Festival on August 13. †

http://kikipau.blogspot.com, www.myspace.com/kikipau

Text Teemu Fiilin Photo Osma Harvilahti