IN DREAMS THEY DANCEs work was in progress for months.

The very first idea for the guitar part came to me when I was tuning my guitar. I didn’t think of it as a serious idea though, mainly because as every guitarist out there can tell, the guitar picking pattern is about the dumbest imaginable: The most obvious thing you can play with harmonics.

Anyway, the riff kept coming back to me and I slowly started to appreciate its naivety.

So I recorded the stupid part with a steel string acoustic guitar and doubled it with a nylon one. After that the song really wrote itself. The flute doing the melody and a bit of mellotron.

Pretty cute little tune it turned out to be.

Let me introduce you the cast of ZONE:

– Coins as footsteps on gravel
– Newspaper as dripping water
– Resonating fan as wind and just a threatening fan
– Several drinking glasses with varying amounts of water as extras
– Piano as piano
– Tons of effects as toxic green

Recording this kind of stuff really makes you feel like a mad scientist. Or just a regular crazy person. Fun.

You gotta have balance. In life, music and bank account.

After last weeks rumble, the balance is provided by EVERPOOL. It’s pop-classical, of a very visual fashion.

So, sit back, close your eyes and take a journey into a magical la la land.

Sometimes it’s necessary to make therapeutic music: Music mostly for myself, for the sake my mental health. And if folks find use for this sort of monstrosities, that’s a nice bonus.

What makes a good therapeutic making of a song then? Beats me. I’ve been doing improvisation based stuff as well as highly mathematical, very strict compositions. And blues, pop and classical and so on.

I guess the healing ingredient is just to make whatever seems fun at the moment.

RENT IS TOO HIGH is definitely a “leave ur brain off before entering”-kinda piece. It’s loud, rude and crude. Aesthetically it falls into the “ugly is beautiful”-category.

And it was a blast to make.

And then it’s time for some nice electric storms, gigantic neon signs and never-ending rain.

Unlike many other old sub-genres of sci-fi, cyberpunk doesn’t feel dated. It’s still a scary what if-scenario about the future.

Sure, we nowdays have mechanical hearts, cybercrime and oculus rift. And robotic prostheses and segways and virtual reality. And we’ve got laser eye surgery, self-tuning guitars, smart phones and the internets…

Ok, now that I give it a second thought, cyberpunk doesn’t feel that futuristic anymore. It feels like today! Welcome to the future, my past self!

Soundtracko cyberpunko: NOMADO FUTURO.

PRIMROSE BUTTER SCOTCH was a weird one to make. I got the whole song together pretty fast, but then I decided to redo the drums. I’m glad I did, because the result sounds quite lively. Almost “real”.

Enough with the quotation marks already!

Time for some “vocal music”. Or more like “vocal” music. The music’s “real”, not “music”.

URSULA’S CALL was supposed to be pretty space angels yodeling, and that’s exactly what it turned out to be. Further explanations are futile, czech it out yourself.

Completely unnecessary fact of the day, concerning the songs title:

The very first thing that popped in my mind was the scene from the movie Casino Royale – the 1967 version – in which Vesper Lynd waves Evelyn Tremble to follow. The whole scene is beautifully filmed through a fishtank, and is accompanied by Burt Bacharachs “Look of love”, performed by Dusty Springfield. Tremble is played by Peter Sellers and Lynd by Ursula Andress.

I guess this is how you name songs. Or am I doing it wrong?

Imagine summer. Good.

Now imagine Finnish summer:

Tundra. So lonely, although wolves are howling somewhere in the distance. The wind rises. Santas crashed sled. Starts to snow. Hey look, icy tumbleweeds cruisin’ by. Wind’s getting more piercing, snowing is almost horizontal. A bunch of FROZEN YARROWS stick out of the snow. Wolves’ howling getting nearer and nearer. So hungry.

Seriously, cool’s cool. Me like.

They say that the beginning is the hardest part of everything. While I agree with that cliché to a some degree, drawing the very first lines on a blank canvas is also the most creative part of the job. The point when you can go bonkers and do anything. After that, every stroke of brush limits your options of what you can do.

Here’s konganos Top 3 stupidest basis for making a song:

3) I took the tempo and entire structure – you know, A-B-C etc – from an existing song, and built my own song on the foundation.

2) “I don’t like music, and I don’t want to make anything right now.” (The song turned out to be punk rock)

1) I made a few bars of the stupidest drum beat I could imagine, with very crude sounds. The result: SLOPE LANE FUNK.

I was tempted to put this piece in the ethnic-category, after all, it is a bossanova. But then I changed my mind, because calling this kind of song a proper bossanova would be an insult to Brazilian music legacy.

FUN FREE FARE is some hardcore elevator music. You only notice it if it isn’t there.