Drawing from a palette of processed field recordings and distant vocals, Aino Tytti creates shimmering, ethereal drones; fusing interlocking spirals of static and distortion into harmonic backdrops and intricately layered micro structures.
Abandoning conventional tuning scales, location field recordings are taken with customised microphones and deconstructed using forensic audio techniques to reveal hidden accents and textures. The results are then layered and expanded using harmonic ratios, which are respectfully aligned with the environment in which the location recordings were taken.
Part decaying and arresting, part hypnotic yet cerebral, a focus is made on the points of correspondence between hope and melancholia. Influences from experimentalists such as Popul Vuh, Arvo Part and Throbbing Gristle are smeared alongside contemporary futurists such as Alva Noto and William Basinski.
I'm pleased to announce that i have a new album out on UK based record label Touch.
Over the last 12 months, the Greater London Authority has granted me unrestricted access to The Millennium Mills, a vast and decaying derelict mill site in London's docklands. The mills were decommissioned over 30 years ago and have since been left to decay and decompose, while all around it has been the focus of extensive urban regeneration. The building has long been a personal fascination for me, not only because of the field recording opportunities that such an epic scale of crumbling industrial architecture offers, but also as it stands as such an emotive statement on decay and regeneration in society.
The project focuses on taking a series of field recordings within the mills, then using these recordings in post-composition to create a series of sound pieces. Traditional air mics were used, alongside more experimental recording techniques and equipment such as contact mics, geophones
and hydrophones. This allowed harmonics, patterns, textures and resonances in the building and structural foundations to be revealed that wouldn't ordinarily be heard by the ear.
In addition to the field recordings, large PA rigs were installed in various locations throughout the mills and vocal harmonies from two collaborators were extensively recorded for later processing. Banks of pure sine tones were also played back within the vast halls and in the process of recording both, a focus was made on using the natural reverb, echos amd harmonics of the building. This allowed me to use the spaces and silos as 'instruments' which could be played and tuned live, in harmony with the vocals and sine tones.
The release is available from the Touch website as a digital download and is accompanied with a 17 page booklet of text and photographs, which explores the context and approach in detail.
I'm really pleased to announce that i have been asked to perform at the upcoming Arcadia series of events, which have been curated by non other than the brilliant William Basinski.
The event will take place at the St John at Hackney church on 12th March and in addition to performances by William Basinski and myself, Michael Gira from the band Swans will also play. Given the line up and the location, it promises to be a pretty special event.
I'm obviously incredibly excited about the opportunity to play alongside two artists who have had such a large influence on my work over the years. Huge thanks to William for selecting me as well as the Art Assembly and Sound&Music guys who are putting on the event.
Hopefully see some of you there!
UPDATE: A recording of the show can be heard here:
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've been asked to do a monthly DJ residency in the lobby of the Ace Hotel in Shoreditch for the next few months. By way of an introduction and preview to the sort of things i'll be playing, i've pulled together the following mix.
It's a wintery mix of field recorded storms, frozen lakes and high seas to sit alongside processed vocals and cello.
There's quite a bit of my own material mixed in with some with tracks from others. Wrap up well...
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.