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.

When I think of music played with harp, the images I immediately get are very clear: It’s either some angelic bliss or fairytalelike sweeping. And what also comes to mind is a fellow named Marx.

OH PEARLY HAVEN is a standard harp tune. No scary sounds, no strong rhythm, not much variation. Just some harpy stuff.

Modern concert harp is a pretty complex instrument, with 47 strings and several pedals. To be honest, I have no idea if this tune is actually playable or not. Maybe i will never know.

It’s been a while since I’ve made a rockin’ and/or rollin’ update, so this is it!

FLASHING FORK OF DESTINY is some synthesized hard rock of epic proportions. As intended, it makes me think of boxing and has a silly title.

Yeah yeah, nobody likes musicians with their stupid inside jokes… Nevertheless here’s a couple:

Brimful of tys to J. Thunder and his fists of fussy for being the inspiration for this song!

And a huge thank you – as well as “thanks a lot buddy” – to Larry for the technical support!

Oh yes, the spring is here. My runny nose feels it. My hand holding sunglasses feels it. What a wonderful time to be alive.

Todays feature PADAZZA is a one chirpy & springy tune. So I guess if I’d ever put out an official springtime song of 2015, this would be it.

Oh yeah, and it’s one of those ”unique”kind of songs. I couldn’t think of a proper genre, so unique to the rescue.