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.