Artist: Tuomas Rantanen
Title: Early Triassic
Label: City Wall Records
Date: 31 April 2014
1. Induan (6:21 / 89 BPM)
Listening to this is a like trying to learn a new language, alien intonations and unkind cadence.
2. Proterosuchus (7:53 / 98 BPM)
The journey of time and discovery steadily continues this time with slight familiarity.
3. Wetlugasaurus (7:48 / 107 BPM)
And now a sense of deep suspense and impending violence, this one has teeth!
4. Lystrosaurus (6:17 / 114 BPM)
More structure here with noticeable tonal patterning and graspable progressions.
5. Scaloposaurus (6:19 / 108 BPM)
Feel the space and air, yet that sinister edge is always there as inescapable as time.
6. Thrinaxodon (6:32 / 94 BPM)
Things slow down again here, take a breather and allow the landscape to provide.
7. Olenekian (7:25 / 133 BPM)
A step change that brings new brightness and beat stability with a sense of climbing.
8. Garjainia (7:11 / 114 BPM)
As close as it gets to reality but with the clinging intensity of fiction.
9. Utatsusaurus (5:58 / 81 BPM)
Underwater madness as life slows down again. Feelings like deep sea movements.
10. Cynognathus (8:59 / 80 BPM)
Yet more exciting new sounds are brought to being and effectively organised.
Press release notes:
In Early Triassic Tuomas Rantanen shares his meditative reflection on the auditory world of a prehistoric time. It can be seen as a continuation of his Nychthemeron in Galapagos suite (2013) although contrastingly this collection takes the form of an album. Also, whereas the Nychthemeron suite held semi-rigidly to standard techno BPMs and beat structures, Early Triassic has almost a total rejection of any rigidity, the BPMs and beat structures cannot really be tied down to any regular pattern. This could be viewed as Tuomas’s interpretation of the concept that early life forms held less order and permanency than can be found in today’s homogenised and industrialised world. Interestingly some of the deep basslines and broken beats that emerge in this collection are reminiscent of the alternative side of the dubstep sound. Tuomas also utilises some of the more fundamental synthetic waveforms like square waves and sinewaves as well as time-stretching and bit crushing to help emulate a time when life was indeed more raw and simplistic. The promos are attracting some deep praise from the likes of UZB, Concrete DJz and Akkya to name just a few. Aside from his releases on City Wall Tuomas is currently working closely with Blackout Audio to share his superb Silk Road series.
2014’s releases from Tuomas on City Wall will see a continuation of his thematic explorations in a variety of new works as well as remastered and repackaged versions of the Grinding Ground and Roaring Dunes suites. Pre-2014 Rantanen has been dealing with the theme of auditory mechanisational change in his works such as Rocket Bay EP (2003), Dark Water EP (2008), Gasoline Rainbow EP (2010), Grinding Ground suite (2011), Roaring Dunes suite (2012) and Nychthemeron in Galapagos suite (2013). Rantanen has also dealt with the theme of societal change from the perspective of Cyberpunk. Rantanen wants to show how boundaries between man and machine, the natural and the artificial have become blurred. He also wants to reveal how a change in our audible environment might soon be a reality. These Cyberpunk themes of societal and audible change are explored in his more chaotic works such as Access Denied EP (1999), Kaotic EP (2002), Memorising Every Phrase EP (2006), Robotan Elbows EP (2009), Anarchy EP (2011), Organisms (2012), Mutations (2012), Corporations (2012), Biometrics (2013), Robot Construction (2013) and Mechanised Incantations (2013).
Artist: Tuomas Rantanen
Ø - MAAN VALOSSA
“Completed in 1968, the Electric Quartet was designed to be played by four musicians and a singer, using push buttons, light-sensitive resistors, patch cables and a microphone.”
Images from Chris Marker’s La Jetée.
Jouko Leskelä’s photograph of Erottaja Square, Helsinki, Finland, 1981