Drawing from a palette of processed field recordings, home made synthesizers and distant vocals, Aino Tytti creates shimmering, ethereal drones; fusing interlocking spirals of static and warm distortion into widescreen harmonic backdrops and intricately layered micro structures.
Abandoning conventional tuning scales, sounds are recorded and deconstructed to reveal hidden accents and textures. The results are then layered and expanded using uniquely defined harmonic ratios, realised through custom made synthesizers and digital processing.
Part decaying and arresting, part hypnotic yet cerebral, influences from experimentalists such as Popul Vuh, Arvo Part and Throbbing Gristle are smeared alongside contemporary futurists such as Alva Noto and William Basinski. The pop sensibilities of bands such as My Bloody Valentine and Sonic Youth are often recalled.
For this live performance, several sets of microphones were placed in various locations around an acoustically complex gallery space, split over two open-plan mezzanine floors. Working with the space allowed me to mix and 'tune' the areas for specific echo, reverb and resonance frequencies. These feeds were then mixed down live, alongside the original source material.
The performance was more of an installation than a gig set, due to the preparation required to set up the gallery and the equpiment. I really enjoyed it though and it was really rewarding to play with the physicality of the space, rather than working with theoretical modelling and algorythms on the computer. I think it created some interesting results.
Most of the original material for the actual performance was taken from the Armed Within Movement release recorded at the height of Venus and Jupiter Conjunction earlier this year, hence the choice of visuals.
Back in June I went to the Snaefelssness Peninsula in Iceland to take a series of recordings on the Snaefellsjokull Volcano glacier, for a new project i am working on with Norweigian vocalist Kristin Evensen Giaever (more on that soon!)
While i was over there, i got the opportunity to take some contact microphone recordings of the tallest structure in Western Europe for the ever-brilliant Touch label.
The structure is a 412 metre high guyed longwave radio mast, stationed at Gufuskalar in the vicinity of Hellissandur, very near to the Snaefellsjokull Volcano. Due to the extreme environment in which it sits, it creates some stunningly beautiful sounds as it flexes, expands and contracts in the icy winds and hot sun. It needs to be heard to be believed.
It has been featured on the Touch website, where i've written a few words about process and the history of the mast.
I was asked to do something of a mixtape for Jaguar Shoes Collective in London. It's a dark little number that betrays some of my influences. Listen on the Souncloud player below.
1. Phillip Glass - Excellent, Mr Renfield
2. Rudi Arapahoe - Vulture Fantasy
3. Xela - Halloween
4. Hildur Gudnadottir - Erupting Light
5. Erik Skodvin - Levende
6. Forest Swords - Miarches
7. Julee Cruise - Up In Flames
8. Frehel - Si tu n'étais pas l
9. The Caretaker - Libet's Delay
10. Xela - Drunk On Salt Water
11. Vangelis - Rachel's Song (Bladerunner OST)
12. David Toop - Black Chamber
13. Trailer Trash Tracys - Candy Girl
14. Biosphere - Forum
15. Marty Robbins - Ruby Ann
16. Ben Frost - The Carpathians
17. Elegi - Fyrtrnet
18. Spoken text from Ulysees by James Joyce
19. Svarte Greiner - Final Sleep
20. Cocteau Twins - Violaine
21. The Moontrekkers - Night Of The Vampire
22. The Vampires of Dartmoore - Dr. Caligaris Gruselkabinett
23. Units - Zombo
The source material for this release continues along a similar trajectory as previous releases. The original field recordings were taken from a series contact mics attached to 40ft long hi-tensile steel cables, which were constructed on a factory rooftop in East London at the height of the Venus and Jupiter Conjunction on the 13th March 2012.
The piece looked closely at the specific resonance of the steel cable material, the frequency of which was in turn tied in to the varying physical lengths of the cables as a variable harmonic ratio which was tuned through the length of the track.
These same ratios and frequency numbers were then used as algorithms for processing the source material, alongside a series of number patterns taken from Johannes Kepler's geometric astrological findings, published in his book Harmonices Mundi, on the relative orbiting speeds of Venus and Jupiter as observed in 1619.
Those brilliant people from the Room 40 record label are putting on another event at Oto and they've invited me along to play live.
On the bill too is the immensely talented Jefre Cantu-Ledesma, founder member of Tarentel and head honcho of the Root Strata record label. He put out a very special album on Type last year, so i'm very much looking forward to seeing him play live. There will be videos and further visual manipluation from Mr Paul Clipson.
I'll be on earlish, so if you're planning to come down please ensure you wolf down your tea in enough time to see me. Drone is good for the digestion, see...
I have a new release out today, courtesy of the ever-brilliant Digitalis label. This one has been in production for quite a while now, but it's definitely been worth it as i'm really happy with how it's turned out.
The basis of the textures were created from a study of field recordings taken on large metal bridges using a series of extra-low frequency contact mics. -I got quite a lot of material from the Brooklyn and Manhattan bridges in New York and The Millennium and Blackfriars Bridges in London, but there have been too many to remember to be honest. I then used some forensic audio
techniques to isolate lots of sounds, patterns and harmonics in the recordings that wouldn't ordinarily be audible.
For this project I created sound processors from scratch, with algorithms for the processing and feedback inspired by Johannes Kepler's book "Mysterium Cosmographicum" published in 1596. -The book concerns a mathematical model which is used to explain a cosmological theory through geometry. I applied these geometric ratios to the harmonic frequencies of the basic sounds that had been isolated from the recordings.
I've uploaded a 20 minute extract to Soundcloud, which you can listen to on the player below. If you'd like a copy of the release please shout and we can sort something out.
I've finally found some time to mix down some of the tracks that i have been working on for the past couple of months. The collection is called Apophenia and was due for release on Phantom Channel shortly.
Unfortunately the Phantom Channel guys have decided to take a bit of a hiatus from releasing anything in the immediate future, so i'll leave this one on the shelf for now and come back to it in the future.
If you'd like a copy or fancy working with me on a release please feel free to get in touch.
All good things must come to an end, especially in the fickle world of social networks...
Not being one to stand in the tide of progress, i've set up a Facebook page and this website, which i'll use to post details of my latest work and news.
You can 'like' me, using the box on the left and visit my new Facebook page at this link.