Remember to think horizontally, not just vertically.
So we are instructed by Helsinki’s own Timo Kaukolampi in the promo for the release of his latest album Synestopia, which by commission of the Freqmaster himself has finally resurrected me from my listening rut to get back involved with some electronic music. Perhaps some horizontal thinking was required to shift the direction of my current sonic exploration, but only Timo can say.
Synestopia (a play on words by cover artist Timo Vaittinen meaning synesthesia + utopia) was first recorded back in 2020, and by accounts was causing our electronic hero a great deal of frustration (not the first nor the last person to be beset by woes during that particular year) until he was struck by the notion that although he may be unable to progress the work in a traditional, vertiginous manner, continuing to approach the sound horizontally was the breakthrough he needed to bring the album to its inevitably longitudinal conclusion. Instead of a singular piece lasting an LP’s length, we are given the pleasure of listening through four variations of the soma-induced trance brought about by the brave new world of Synestopia, plus a bonus offering to round us out.
We are greeted by the synthetic shimmerings of the title track topped with the vocals of Ringa Manner, frequent Kaukolampi collaborator and purveyor of ethereal croonings. By my reckoning the standout track, we are treated to driving electronic beats reminiscent of Craven Faults’ rural England synthesiser project, this time in the monochrome world and darkened skies of Finland. Kaukolampi’s driving pulse and Anssi Nyänken’s tumbling drums allow Manner’s vocals to drift seamlessly over the top in a state of lucid dreaming which projects colours into the music as the synesthesia of the title suggests. Next up is “Synestopia, for Clarinet” featuring some ambient clarinettist feedback, in which Helmi Malmgren produces woodwind oscillations like ripples from a pond. A brief interlude between the driving rhythms that gives us a chance to reflect on the journey through Synestopia thus far. The third variation (titled “Synestopia – E1, PR99, SY-1, TR-808”) is not inaccurately described as having echoes of Manuel Göttsching about it; a more understated form of Synestopia that has a lot in common with E2-E4. That being what it may, since E2-E4 is a frustratingly vertical chess move, I thought also of a lunar landing, for which both latitudinal and longitudinal thinking would be required.Our final outing is entitled “Synestopia, for Wolves”. The beats are once again eschewed for some haunting ambient synths with contemplative vocals. For wolves that howl by the moonlight indeed. Having completed our journey in Synestopia, the album closes with a reminder that “All Birds And Men Are Sure To Die, But Songs May Live Forever”. Mournful chords lead us into a kind of fugue lament that builds up slowly but inexorably. A memento mori that reminds us utopias are not built to last. Quite the sobering slice of soma.
I would be remiss not to mention Tuomas Toivonen for providing some ghostly guitar feedback to the album. Kaukolampi is a part of outfits such as Haunted Plasma and K-X-P as well as his solo projects, all of which I will now be checking out based on my recent listening. He also runs a slot for a radio show in Helsinki.Stay horizontal.
-Raul Solomons-
