Friday, December 30, 2005

Metempsychosis Metamorphosis

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"Metempsychosis Metamorphosis" (29 December 2005) © pHinn 2005

In the 1950s two schoolboys received messages from outer space with their home-made wireless. And not only from space but also from the future, or more exactly, from all our possible futures. Skillfully manipulating wavelengths, they could also contact the dearly departed in the afterworld. There were a lot of things their Eisenhowerian parents lulling in their suburban post-war existence of Cadillacs and hydrogen jukeboxes didn't want the boys know. Regardless, haunted by wet dreams and disturbed by nocturnal emissions, the boys' first sexual awakening took a crash course and came in the form of restless electricity dancing purple and blue through their spinal cords.

All through the night their primitive transmitter sang and revealed them secrets about cosmic nymphs, the double helix of DNA, ancient molecular knowledge, orbital trajectories, quantum uncertainties, metempsychosis, secret societies of sexual occultists, psychedelic black ops, Orpheus in Hades, Maya Deren's dreams, pataphysical inevitabilities, metamorphosis, and the penile dysfunctions of the US presidents. A midget gave a lecture on nuclear physics. Life on Earth, as we know it, developed out of garbage thrown down from flying saucers. -- With all my subtlety of a bull in china shop, unable to kiss the right people's asses and managing to piss off the wrong people, I spent my days waiting for that Damoclean letter from the unemployment office, expecting for the start of my career as the cleaner of construction sites. The alternative, plain and simple: cease to exist.

pHinnMilk Comics (not for children)

Thursday, December 29, 2005

Arto Salminen: Kalavale

I finally got read the late (and sorely missed) Arto Salminen's last book, Kalavale (2005). Here's a few words about the plot of the book.

Kyösti "Fisu-Hanski" Hannukkala is an old-school entertainer, familiar as a TV comedy veteran (clearly modelled after the late Spede Pasanen). He is also an elderly womaniser who has taken under his wings (and to his bed too) a foul-mouthed, uneducated beauty queen Oona, whose background is in the suburban slums. Oona is disgusted about having to do sexual favours to the considerably older Hanski (who finds out, though, that he can't "rise to the occasion" any more), but hangs out with him in hope of a slice of his fortune gathered together during his career of forty years. Secretly she keeps meeting Jami, a body builder and gym manager into fast cars and women, who peddles as a side business steroids and other illicit chemicals. This rogue gallery is complemented by Fisu-Hanski's right-hand man Kasperi, a slick offspring of an economy school who speaks flashy but ultimately hollow business jargon currently in vogue (the nearest equivalent in real life would probably be someone like Jari Sarasvuo, a Finnish celebrity lecturer, "motivation trainer" and the host of local version of The Apprentice who has has done his best to spread to Finland the gospel of American-type of "inner hero" business philosophies).

Fisu-Hanski is well aware that his days are numbered, both in the entertainment business constantly getting harder, faster and more vicious, and because of his ever-worsening heart condition. He knows it's time for his last stand, but he's not exactly delighted when Kasperi suggests him that they might create together a reality-TV show more ruthless and scandalous than seen ever before.

Called "Auschwitz", the planned TV show would get together twelve unknown people, all long unemployed, as prisoners and guards in a simulated studio prison camp. As we know, so called reality-TV shows, such as Big Brother, are always in fact psychodrama, innuendo and backstabbing-filled public contests about "the survival of the fittest" (read: society in micro-form), and in "Auschwitz" the task of the hapless contestants is to survive the harsh conditions of the "prison camp", their main task being to be able to take as heavy electric shocks as possible when sitting in a specially-built "electric chair"; alongside other continuing physical and mental humiliation, beatings and sexual abuse; all followed by cameras. Hosted by Oona, dressed as an Ilsa, She-Wolf of the SS type of cruel dominatrix mistress, "Auschwitz" will fulfill its expectations and more when all evening tabloids and gossip magazines keep eagerly following its day-to-day progress.

The necessary moral outrage is raised and controversy stirred, gaining all the needed notoriety and publicity for the show. At the same time the race is on about who will manage to get their names to Fisu-Hanski's will: his estranged daughter Anna or Kasperi or Oona, all despising each other.

Arto Salminen has, as in all his previous five books, his finger exactly on what's happening in Finnish society today. His prose combines hard-boiled accounts of hard, dreary life with his usual greedy, predatory characters depicted in a biting satire; with often-poetic sentences which he always honed for a long time. Did Arto Salminen see his own early demise with his usual ill-fated characters? Did he feel just too strongly about everything that is wrong with this society, since the worldview of his books seems totally devoid of hope? We can probably speculate endlessly. In the meantime, I sincerely wish his books remain in print for the new generations of future readers who want to capture something of the 1995-2005 Zeitgeist. (And hopefully one day also as translations for non-Finnish readers too.) If there is any future at all, judging by the way things are currently going. The most alarming thing about Salminen's books is that though seemingly intended as satire, with a strong sense of grotesque and black humour, they describe today's reality so accurately.

Arto Salminen @ pHinnWeb

Thursday, December 22, 2005

A Christmas Card From pHinnWeb

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Mr. pHinn and pHinnWeb wish all the readers of this blog,
friends, fellow freaks, fans, collaborators and co-conspirators
Merry Christmas & Happy New Year 2006!


A Chat With My Imaginary Friends Just Before X-Mas

The endless veils of Maya, drapes of illusion; just when one takes something for granted it turns into something else. The only certainty in life is uncertainty. So many people are looking for themselves a leader, some sort of guru-cum-Master of Ceremony: someone who would make all the pieces fit together and make sense of it all. In the end all sacred cows will be demolished, with that little boy who tells us the private parts of the Emperor are showing, and any other names for disillusion.

Christmas is always a regression into one's childhood. To what was lost forever, or was never there. That disillusion and loss were to follow when we grew up, and to claim otherwise was just the greatest pretension of those all. We try to compensate for the loss, of course, by creating around us these enormous armours of indifference, cynicism and cold stoicism, and pretend there is no return to that innocence. Still, how we wish someone would prove us wrong here.

Fed up with Christmas kitsch, though. Plastic angels, Baby Jesus with a submachine gun as an action figure, glitter balls, X-Mas carols muzak and consumer stampede.

From winter solstice on the days are getting longer. To all you who feel you're are merely drop-outs and good for nothing: never lose your hope and the will to keep fighting. To all you intellectuals trying to analyse or qualify and quantify this: don't even try, you'll fail miserably. Happy Holidays.

Wednesday, December 21, 2005

New Additions To Finnsleaze

[Skip this entry if you are under 18 years old.]

Sleaze guarantee! More additions to Finnsleaze from the late 1960s to the early 1980s.


20/70 | 23/70 | 7/71 | 11/71 | 14/71 | 15/71 | 20/71 | 2/72 | 5/72 | 9/72 | 12/72 | 13/72 | 16/72 | 17/72 | 18/72 | 22/72 | 23/72 | 25/72 | 3/73 | 5/73 | 8/73


10/69 | 3/76 | 7/76 | 9/76 | 10/76 | 10/77 | 12/77 | 12/78 | 3/78 | 11/79 | 12/79 | 2/81 | 4/81 | 6/81 | 12/81 | 12/82




5/76 | 6/76 | 7/76 | 8/76 | 6/77 | 7/78 | 5/80 | 10/80 | 11/80 | 10/81 | 11/81 | 7/83 | 12/83


6/74 | 6/74 B




10/73 | 4/74


9/80 | 2/82 | 4/83


9/81 | 10/82

Monday, December 12, 2005

[MP3] M.A. Numminen vs. DJ Sane Live + New Kommandomixes

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Exclusive live set:

M.A. Numminen vs. DJ Sane live @ Klubi, Tampere, 7 December 2005 (Here by the artists' permission!)

[Sorry, no tracklist available. M.A. Numminen info @ Wikipedia.]


DJ Sane & pHinn, Suomi Soundz Set IV @ Apadana, 19 November 2005

Matti Oiling: Cyclops' Dance (Pepe Deluxe Remix) [S]
Ercola & PP: Pannaan menemään [S]
Pepe Deluxe: Woman In Blue [pH]
Jimi Tenor: Take Me Baby (Finnish Bassboy Mix) [pH]
Club Telex Noise Ensemble: KVY (Legowelt Mix) [pH]
Dr. Robotnik: I Hate You [pH]
Shadowplay: Night Porter [pH]

pHinn psych-amb-dub mix, 7 December 2005 @ Klubi, Tampere

The Orb: Pomme Fritz
Tangerine Dream: Mysterious Semblance at the Strand of Nightmares
Åke Andersson: Kaukonen ennen vanhaan
Manuel Göttsching: E2-E4
Future Sound of London: Cascade, Pt. 1
Talk Talk: After The Flood
Laraaji: Meditation Number 2
Mighty Force: Phase Nation
G.O.L.: Soma Holiday
Dub Syndicate: Ravi Shankar, Pt. 1
John Cage: Fontana Mix
Primal Scream: Higher Than The Sun (A Dub Symphony In Two Parts)

pHinn IDM-exp-freakout mix, 7 December 2005 @ Klubi, Tampere

M.A. Numminen & Erkki Kurenniemi: Oigu-S
Philus: Tele-ctro
Kaj Chydenius: W
Kemialliset Ystävät: Metsä
The Fugs: I Saw The Best Minds of My Generation
Squarepusher: Theme From Ernest Borgnine
DJ Food: Scratch Yer Hed (Squarepusher mix)
Gescom: Mag AE Remix
Kelpe: Cross Legged Breakfast
Lego Feet: Northwest Water
Kelpe: Look For Shiny Things
Boards of Canada: Everything You Do Is A Balloon
Future Sound of London: Papua New Guinea
Aphex Twin: Polynomial-C
Orbital: Halcyon
The Fugs: Coca Cola Douche
Silver: Do You Wanna Dance
µ-Ziq: Lunatic Harness
Albert Ayler: Truth Is Marching In


All soundfiles available @ pHinnWeb.

In all our mixes we are committed to Kommandomix Manifesto.

Tampere Is A State Of Mind

Tampere is something else than (allegedly) the largest landlocked town in Scandinavia. Tampere is a state of mind. There's something special about walking through Tampere's centre on a December Sunday night when the temperature has risen above zero, melting away most of the snow and leaving only the damp black streets reflecting light from shop display windows and few passing cars. Apart from some very occasional pedestrians hurrying to their homes, Tampere "City" on a Sunday night is virtually a ghost town. Only TV's sound blares out from a bar by Kuninkaankatu's pedestrian street, announcing those ever-important results of Idols. The air of melancholia is everywhere dominating these lonely streets.

Riku Siivonen writes on his column for the weekend supplement Nyt of Helsingin Sanomat (Friday 9 December 2005) about his former hometown Tampere: "It is guaranteed that one finds from Tampere just the same clubs, restaurants and events as even before. A disco at Yo-Talo, the steaks of Salud, a beer tent at Keskustori, the hippies at Telakka. I suppose no one even wants to change the local city culture. Or the image of the town. [...] I love the passive resistance of Tampere people. Because of it even any small changes appear large. [...] Of course, Tampere is such a small place that anything differing from the mainstream doesn't stand a chance to have a proper life span ahead of it. Very few new things are born there." Then Mr. Siivonen goes on to compare Tampere to his new hometown Helsinki with its cultural network of small record labels, DJs, graphic artists, architects, journalists, etc. etc; the sort of which he claims he can't find in Tampere. The rest of the column is dedicated to defending different subcultures against such enemies of it as the "zero tolerance" politics (trying to suppress the creative potential of hip hop/graffiti culture), and the positive "city nationalism" of young Helsinki enthusiasts; the sort of which (once again) is not found for Mr. Siivonen in Tampere.

I don't doubt at all the fact that Mr. Siivonen has found his heaven among the fleshpots of Helsinki after having lived in more parochial and provincial Tampere, though these days I'm always more amused than actually annoyed by the usual Helsinki-centredness of its inhabitants (many of which, like Mr. Siivonen, are originally from other parts of Finland, meaning places like -- gasp -- Tampere too). Face it, for urban observers outside Finland (such as Momus in his recent blog entry on Helsinki's youth fashions), Helsinki -- even with its aspiring "city culture" and characteristic superiority complex towards the rest of Finland -- is nothing but parochial and provincial backwaters, in comparison to such real cities as London, Paris, Berlin, New York and Tokyo.

Of course, this is just malicious nitpicking from me, and I am sorry to admit that I think there is more than a grain of truth in Mr. Siivonen's criticism towards the lack of Tampere's (sub)cultural life. Because how many times I have cursed myself the apparent atmosphere of stagnation in this town, the seeming general unwillingness to create something new and different. Anything that is new will get rooted in Tampere only so slowly, and once it does there seems not to be any chance of getting rid of it. "The good old boys" who have established their positions in local cultural scene won't give those up easily. Any newcomers to this sandbox must play along the rules of these gatekeepers or to take the risk of getting marginalised, even cast out.

I am originally from Lapua in the Southern Pohjanmaa (a.k.a. Ostrobothnia) province of Finland where I was born, even though I have lived in Tampere ever since I was merely one year old when my father came to study at the University of Tampere. Still, I feel many times being an outsider in this town: in my heart and attitudes I am obviously more often of Pohjanmaa than Tampere of the Pirkanmaa area in the Northern Häme province. Pohjanmaa of quietly proud, enterprising, hard-driving, temperamental, impulsive, flamboyant and even slightly mad people, in comparison to more careful, suspicious and hesitant Tampere denizens.

A stereotypical inhabitant of Tampere is an uneducated working-class hick, who is extremely careful in all his talk and deeds, even sarcastic and passively aggressive towards anything "strange" that does not fit to his basically conservative and parochial worldview. He is a fan of ice hockey and 1970s heavy metal, which epitomise "culture" for him; maybe also the new albums from those Manserock dinosaurs who started in the 70s and are still going strong, Popeda and Eppu Normaali. Juice Leskinen is his hero, even though Juice told him to fuck off, when he once approached the artist at a bar after having encouraged himself first with fifteen beers. The only book he has ever read is Väinö Linna's The Unknown Soldier. He laughs at the TV comedy of the Kummeli group, with whose caricature characters he can well identify. Such as Matti Näsä, the ur-geezer helplessly stuck in the 80s with his denim jacket, greasy hair, the barbarian style of the combination of moustache and sideburns.

The salvation of Tampere, though, is that this is an university town, which draws in young people from all over Finland. This means a bunch of potential new movers and doers coming in, maybe bringing with them some fresh ideas and attitudes sorely needed to shake up the slumbering life here. I know that even though I often feel pessimistic and skeptic about anything changing here, there does exist the cultural Tampere network Mr. Siivonen was missing in this town. It is just that often the things they do here are of small scale and low profile -- yes, of underground, if you want to use this many times misunderstood word -- but they are there. You have to look for them carefully, they are not necessarily the most conspicuous and extravagant people; they may not want to make too much fuss about themselves, but they are there. Compared to the Helsinki trendies desperate for any new fad, they are more down-to-Earth, less flashy -- and less superficial.

Things change slowly in Tampere, yes, but I think Tampere people are also more realistic about any overnight sensations, rapidly passing ephemeral trends and fly-by-night operations. When they do things, they are built to last.

Moreover, the age of Internet and global connectivity has been there to eradicate the traditional positions between "power centres" and "provinces". We don't have to limit ourselves any more to our nearest surroundings in exchange of ideas and thoughts. In the flesh we may still be provincial smalltown dwellers, but on the level of ideas, concepts and communications we can move on freely and without boundaries. It's up to us if we want to turn that into action on our local level too; however grassroots that might be.

So, you see my attitude towards my hometown Tampere is not a little bit ambiguous. I curse the provincial narrow-mindedness, but I still see vast potential being there too. Just give it a chance to grow up and flourish, work hard yourself, be persistent and patient, and something is bound to happen before too long. Do it yourself and don't expect anyone else to hand it to you.

Wednesday, December 07, 2005

DJs Sami & Riku Do The Wardance At Yo-Talo

DJs Sami (a.k.a. 3.14-Sami) and Riku (a.k.a. Infekto) do their traditional wardance at the monthly Big Pop Saturday disco night, Yo-Talo, Tampere, Finland, 3 December 2005. Note Sami's innovative use of Christmas lights.

Images by Kaimaani. Reprinted by permission.

7 Lies (In Memory of Kikka)

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"7 Lies (In Memory of Kikka)" (7 December 2005) © pHinn 2005

pHinnMilk Comics (not for children)

Friday, December 02, 2005

More Dostoevsky, less Wrestlemania!

In the 1970s Finland was mostly a monoculture where everyone pretty much watched the only existing two TV channels, listened to two radio channels of the state-owned Finnish Broadcasting Company (and one channel in Swedish language to boot), read about the same papers and magazines.

In the 1970s Finland there was an express concern about culture and education and a worry about the "mental junk food" of commercial entertainment taking over people's minds. Finnish TV was still heavily regulated by the "Programme Council" (ohjelmaneuvosto) with a special concern over TV violence, and for example, such TV shows as Space: 1999, Starsky & Hutch and Magnum, P.I. were targeted or banned altogether. (Also political concerns were high on ohjelmaneuvosto's agenda: anything that could be interpreted as "anti-Soviet" was to be condemned.)

These sort of patronising attitudes seem to belong to a bygone era now, and I am not longing back for the old days, with their overall heavy political demagogy and bleak black-and-white mental landscapes of the days of "Finlandization", when in comparison Western mass culture seemed more appealing and exciting, but obviously we have turned 360 degrees since those days in what comes to having only one "official" truth dominating general thinking.

In the 80s and 90s the earlier monolithic media hegemony started to crumble when commercial radio stations came along, with new TV channels (TV 3 ca. 1987, Nelonen (Channel 4) in 1997), and the whole yuppie-driven "city culture" (yes, Finns with their forest dweller and agrarian roots took this whole "urbanism" concept seriously).

Paradoxically, in spite of the seeming variety of choices we have these days, there are actually fewer of them with the current commercial overkill of 24/7 entertainment inferno: Hollywood blockbusters, reality TV, American "pro" wrestling (Shakespeare for blue collars?), strictly scheduled Top 40 playlists radio, celebrity cult and so on. The ratings are the king, and mostly anything on TV is viable as long as it sells, obviously. It seems old black-and-white movies or European classic films or most anything coming from outside the Anglo-American cultural area are not part of this scheme. Current radio station programming with their industry-driven playlists epitomises the similar deserting of variety in favour of commerce. Current "freedom of choice" boils down to the crucial question: Coke or Pepsi?

The late Finnish author Arto Salminen notoriously wanted back the "Brezhnevian" era of the 1970s in one of his interviews, with the return to the age of state-controlled protectionism over currently prevailing neoliberalism and worldwide "free trade". This comment was heavily criticised in Finnish media (which leans increasingly towards the right these days, the little pinko devil in me would like to add) where the stagnation of those days still remains in common memory, but perhaps the 1970s -- when the so called high-brow culture was still cultivated -- had some good aspects there too.

And This Is What Momus Thinks About Pissis

Momus comments pissis here:

"In the double bind of the Virgin-Whore complex, women are supposed to be more pure than men – sugar and spice and all things nice. Yet when they fail to achieve this artificially high standard—especially when young, or drunk, or on the make—they're accused and castigated out of all proportion to their sins, which are usually no worse than the sins of anyone young, drunk or on the make ... The term pissis ... reminds me of Picasso's series of paintings of pisseuses (picked up by Serge Gainsbourg in his song 'Five Easy Pisseuses')..."

Thursday, December 01, 2005

Momus On Finnish Youth Styles

The cult pop intellectual Momus (a.k.a. Nick Currie) comments here the looks of Finnish youngsters you can see at Hel-Looks site:

"It's understandable, if a bit depressing, that so many Finns are wearing H&M, the Ikea of the garment trade ... And why are so many Finn-teens wannabe Japanese? ... back in the 90s the Japanese did these styles so much better than today's Finns ... Japanese teens in 1997 looked totally 21st century, whereas Jenni and Aaron ... in 21st century Helsinki, look horribly, terminally, criminally 1997 ... I can't help thinking that cities and their styles are quite closely tied to economics, and that there's a pecking order, with global cities like New York, London and Paris inevitably sporting more creative street fashion than second division provincial cities like Helsinki ... Enhancing versions of the traditions of your locality, rather than copying the Japanese styles of the last decade, is the way to dress in a fresh and contemporary way, it seems to me."

I wonder what Mr. Currie would think about the Finnish pissis style favoured by teenage girls...?


pHinnWeb Chart December 2005

It's the psychedelic mind explosion! The Age of Aquarius has begun! (Or then, maybe not.)

Anyway, pHinnWeb Chart December 2005 is here.

Wednesday, November 30, 2005

[MP3] Kommandomixes November 2005 Part III

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pHinnWeb Kommandomixes are back. This time with some golden oldies from our archives: featuring a 1991 Miami Bass mix from Mike Not & Jasse's legendary radioshow Panic Zone on Tampere's Radio 957 + pHinn kommandomixing at Nokia's Lavatanssit party, one rainy July evening in 2004... and Sane & pHinn's all-Finnish Suomi Soundz sets, 19 November 2005 @ Bar Apadana, Tampere.

Note: these MP3s available online only for a limited now. Listen/download soon.


Mike Not & Jasse: Miami Bass Mix @ Panic Zone, Radio 957, 27 February 1991 [MPA]

pHinn electro/retro-techno set @ Lavatanssit, Nokia, 10 July 2004 [MP3]

Cybotron: Techno City
Octagon Man: Vidd
Double Dutch: ?
Pan sonic: Kierto
New York City Survivors: Sirkkeli
Freddy Fresh: A Boy And His Moog Series 2
John Carpenter: Assault On Precinct 13 - Main Theme
Drexciya: You Don't Know
Front 242: Commandomix
Terence Fixmer: Warm
Club Telex Noise Ensemble: CTNE (Andrew Duke's Halifax
to Montreal mix)
I-f: Shadow of a Clown
Mono Junk: I Wanna Be (Electro Star)
Underground Resistance: Electronic Warfare (Voc)
Kraftwerk: Numbers
Aux 88: Electro/Techno (Microknox edit)
Model 500: Time Space Transmat
Adonis: No Way Back
Herbie Hancock: Rockit
DJ Nasty: Closet Freak
Imatran Voima: Quad City(?)
Dexter: Intruder
Tackhead: Mind at the End of the Tether
The VHF: Beethoven's Fifth (Street) Symphony

pHinn & Sane: Set I @ Suomi Soundz, 19 November 2005 [MP3]

Nu Science: My Star [pH]
Kemialliset Ystävät: Oulussa kirjastokorttina / Niin kutsuttu joo joo -paradoksi [pH]
Vaaralliset Lelut: Argentiinalaiset muurahaiset [pH]
Kemialliset Ystävät: Annika palvoo [pH]
Micragirls: Whatta Way To Die [pH]
Carola: The Flame [pH]
Blues Section: Anna suukko vain [pH]
Pekka Airaksinen: Sukirti [pH]
Laulurastas: Loputon [S]
Jukkapoika & Jenkkarekka: Taivas aukeaa [S]
Antti Szurawitzki: Mint Minus [S]
Mode Selector: A Bit Universe [S]
DJ Pataässä: Paussi [S]
Lasse Mårtenson: Herra, olet voittanut [S]
Kimarr: You Define Me So Well [S]
Ritarikunta: Maton alta [S]
Didier's Sound Spectrum: Route to the Brain [S]
Jaakko Eino Kalevi & Long Sam: ? [S]
Jaakko: ? [S]
Ilpo Väisänen: Liima Version 3 [S]
Yrjö Jyrinkoski: Katkelma Hymyilevästä Apollosta (Eino
Leino) [S]
Ceebrolistics: Aintie [S]
Didier & Roope K: Yli ojan [S]
Bläksim: 2 Wordz (Instrumental) [S]

pHinn & Sane: Set III @ Suomi Soundz, 19 November 2005 [MP3]

Bangkok Impact: Masters of the Universe [pH]
Op:l Bastards: Scorpius [pH]
Polytron: Disco Polytron [pH]
Regina: Olisitko sittenkin halunnut palata [pH]
M.A. Numminen: Älä peräänny 2006! [S]
Jimi Tenor: Caravan [S]
Mesak: Visiotec [S]
Rättö ja Lehtisalo: Föönattu kääretorttu [S]
Jimi Tenor: New World [S]
Repekka: Kyy [S]
Op:l Bastards: Funking [S]
Boys of Scandinavia: Worse Than A Girl [pH]
Jimi Tenor: Sugardaddy [pH]
TV-Resistori: Nään tanssivan sun uudestaan [pH]
Lightman: Shake Before Use [S]
Serkkupojat: Kolahtaa Krl [S]
Giant Robot: Real Simple [S]
Putsch '79: Kisses [S]
Ercola & PP: Karhupuisto [S]


All soundfiles available @ pHinnWeb

In all our mixes we are committed to Kommandomix Manifesto

Tuesday, November 29, 2005

Good Dog, Bad Dog

Sometimes it feels we humans are virtually invisible in this society and its cogs of bureacracy. I just visited local welfare office, and received some flak from this cold fish, a bleak blonde woman who had been assigned as someone who makes decisions about the money I get monthly. It was about that one should either leave an application in paper form or have a personal appointment but not both overlapping.

Well, it's not my fault if individual officers have different sort of policies; I only followed the instructions I'd received before from Eija S., an elderly woman and a wonderful welfare officer I had earlier on (so they are actually not all like cold, insensitive robots). I've whined even before here how shitty it is to be unemployed, and submit oneself to the control of state by having to fill all sorts of forms every month. If you're poor, society's pariah class, it seems they want to regulate every move you make. The rich just have a carte blanche.

(And if you Americans or any Finns voting for Kokoomus want to comment on this, please don't bother.)


In Finnish:

Harri Teikka: Huonot ihmiset -> Myönnetään normivaje

Love Records: Otto Donnerin ja M.A. Nummisen haastattelu

Löytyy täältä.


Monday, November 28, 2005

Regina Vs. OK Pop

Tampere's up-and-coming synthpop band Regina has already gained success on Finnish music papers and radio stations. Now Regina has released their first album Katso maisemaa (it means approximately "Look at the landscape"). The official record release party was on Saturday at Klubi; with Tanssikerho, an offshoot of Poppikerho, run among all by the Regina people.

The place was filled with all Tampere trendies and the local "In-crowd"; virtually "everyone" was there; I even talked with Minna Joenniemi of TV's Runoraati (and formerly of the Tampere lounge-pop band Super). I've seen Regina once before, when we arranged for them a gig at September's manSEDANse, and they were nice enough to send me the promo of their single 'Olisitko sittenkin halunnut palata' ("Would you have liked to return after all", or something like that), so I more or less knew what to expect.

The Regina show was nice, melodic synthpop with the girl vocalist Iisa; a friend of mine compared them to Stereo Total, though the lyrics about small everyday events made me even think about someone like Ultra Bra... only the sounds could have been better, I think, not having enough dimension and space in them.

Often the trouble with electronic acts is that they sound excellent on records, but their live sound leaves something to be desired with their dynamics and so (I'm not a tech sort of guy myself, so unfortunately I can't have further arguments to support this): is it because the guys behind the mixing desk usually don't quite understand what it takes to make an electronic act sound good live, having only experience with rock bands?

After the gig I headed to Yo-Talo, my traditional Saturday night watering hole. Tampere has been called "the largest village in Finland", and it was easy to see that at Yo-Talo, the club being half empty because "everyone" was at their rivalling Klubi to see Regina. You see, that Saturday night Yo-Talo hosted a disco night called OK Pop, hosted by DJs Antti Lähde and Antti Koivumäki (who also used to be in our Club Telex Noise Ensemble, playing keyboards and a vacuum cleaner!), but their normal trendy indiepop clientele I mentioned above had forsaken OK Pop for Tanssikerho. So, it was a question of bad coordination, should I say; there's no point to arrange two similar clubs in the same night for the same audience in a town size of this -- unless the competition in this case was intentional? We are living very interesting times...

Friday, November 25, 2005


We Finns are little well-fed pigs living in our Scandinavian welfare state, inevitably limited by our Fennocentric / Scandicentric / Eurocentric / Westcentric views. We are as if automatically provided with food and shelter, are accustomed with all the high standards of living in our politically, economically, geologically and meteorologically safe and stable little country. Wars, natural disasters and people starving to death are something happening only somewhere far away, something we only watch on our TVs. We can only whine about the weather and winter-time light deprivation or any perceived threats that might endanger the sustenance of our cosy little welfare state. For someone coming from a Third World country, it might appear that we live in a sort of paradise. But is it really so?

There are some sociological theories claiming that when all basic needs, such as food, shelter and necessary monthly income, are provided, people will start to ponder if something else is still lacking in their lives. All material well-being proves not to be enough, something is still missing. Do we need more material things around us, or is the lack of some deeper, spiritual sort? This is the paradox of the so called high Western standards of living.

Thursday, November 24, 2005

Fffolk Vs. Electronicszzz, Part II

As a comment to Fffolk Vs. Electronicszzz, Mr. Juuso Paaso sent the following link:

Hymy perseeseen!

Lost Syd Barrett Recording Found

Interesting, but personally I don't hold my breath for this, Syd having badly lost his marbles already by 1972, so this might be of interest to hardcore Syd fans only.


Last-Minute Put-Together Boogie Band tape

An incredibly rare recording of Syd Barrett, performing live on 27th January, 1972, with the Last-Minute Put-Together Boogie Band, at a show in Cambridge, has recently been unearthed, and plans are underway for a release!

Naturally, this news has spread like wildfire and anticipation is huge amongst the legions of Syd fans. Should the release of this show come to fruition (and the people behind it have outline permissions from all concerned to go ahead), it will be a fascinating, historical document for Pink Floyd fans.

The sound on the recording is uneven in parts and will require 'tweaking' in a studio before it will be suitable for release. Any release is therefore some months away.

The Last-Minute Put-Together Boogie Band's set consists of 5 blues songs before Syd comes on stage for a long jam ("Number Nine") followed by 3 blues songs/improvs ("Gotta Be A Reason", "Let's Roll" and "Sweet Little Angel"). The Hawkwind and Pink Fairies sets on the reel are also reported to be worth hearing.

Syd is on stage for 29 minutes in total - the jam "Number Nine" is around 9 minutes long but segues directly into "Gotta Be A Reason". None of the songs are Syd's or Pink Floyd's. Alan Barrett (Syd's brother who makes decisions on Syd's behalf) was pitched the story of the recording and the hopes to release it, and he has contacted PF Music Publishing to give them the "OK".

The story of this recording is interesting, and can be found by visiting: and also The people behind the release are asking for as many people as possible to email them a one-liner stating 'I support this release', sent to: sydbarrettslostgig at in order to exert extra leverage on the company that they are hoping will release it. Please note that emails will not be answered, and it's an inbox only facility. This could be a potentially historic release and your voice can help.

More news on this as we get it...

Date news posted: 19 November 2005

Syd Barrett @ pHinnWeb

Wednesday, November 23, 2005

New Additions to Finnsleaze

[Skip this entry if you are under 18 years of age.]

New additions to Finnsleaze... Again, some scans leave much to be desired, but hopefully these may give some sort of idea about the sordid pastimes of our fathers' generation.


2/69 | 3/69 | 4/69 | 5/69 | 6/69 | 7/69 | 8/69 | 9/69 | 10/69 | 11/69 | 14/69 | X-Mas '69 | 1/70 | 2/70 | 3/70 | 6/70 | 8/70


12/67 | 9/69 | 4/70 | 7/81


4/71 | 11/75 | 12/75 | 3/76 | 4/77 | 9/77 | 12/77


3/73 | 8/73 | 2/74 | 3/74 | 6/74 | 8/74 | 11/74 | 1/75 | 2/75 | 4/75 | 5/75 | 6/75 | 7/75 | 8/75 | 9/75 | 1/76 | 3/76 | 4/76 | 5/76 | 6/76 | 7/76 | 8/76 | 9/76 | 11/76 | 12/76 | 9/77 | 3/78 | 4/78 | 7/78 | 9/78 | 11/79

Miesten Maailma:

2/71 | 11/70


11/70 | 13/70 | 4/74 | 4/74 B | 11/76


11/74 | 4/75 | 11/75 | 12/75 | 4/76 | 2/78 | 7/78 | 8/79 | 1/82 | 3/80 | 5/80 | 7/80 | 10/80 | 10/81 | 5/83

Uusi Aatami:

1/70 | 9/70 | 4/71

Tuesday, November 22, 2005

End of November (*)

Half asleep most of the time, nearly dozing off. People armoured for winter move on as if in slow motion, their faces empty masks. Brief glimpses of grey daylight out of sub-arctic darkness devouring the frozen blocks of concrete. Sitting in a bus and watching distant necklaces of orangeish light, a man-made Milky Way. Moonscape as far as eyes can see. Students who speak in rural accents. Silent townspeople. Stoic teenagers hidden beneath their hooded jackets. Melancholia of these Norse latitudes is like some contagious disease for which there is no vaccination.

One pretends being immune, trying to think cheerful thoughts, to remember that summer was a dead bore anyway. This time of the year makes one look inward when there are no external objects to concentrate upon in darkness. Dreams come, and they come in abundance like a carnival projected inside one's eyelids. Dream people, dream buildings, dream towns, dream situations. People long passed away are there like they were never gone, doing absurd things. A strange play unfolds, full of hidden meanings posted on the walls of subconscious, and something one can't really decipher. Don't try to understand a dream, it always flees away from you. It is a kaleidoscope made of the fragments of your mind Mr. Sandman eagerly twists around into ever-changing new positions.

Hibernating citizens fed by TV's blue milk. Watching TV, reading newspapers, checking the glaring tabloid headlines while picking up one's groceries in a supermarket filled with other November zombies. Everywhere propaganda: war propaganda, economy propaganda, the EU propaganda, propaganda propaganda; who was dropped from the Idols or Big Brother, who cheated whom; an alcoholic ex-skijumper has beaten up his wife again, a has-been singer has divorced once more; another sex scandal, drug scandal -- a fest for voyeurist hypocrites.

A month before Christmas, the darkest time of the year. The annual consumer hysteria is just beginning; little children are taught, conditioned, that their happiness depends on all sort of useless stuff they will receive if they play along the rules. Every year Christmas will be burdened with guilt, angst and loneliness; the most tragic time of the year. Memories of broken families and lost loves always loom there over Yuletide. One wants to ignore it all, forget, spit that fat pig Santa Claus in the face and set his miserable beard to flames, desecrate Christmas. Vomit out all that greasy, fattening junk they want to stuff one with.

Better not to think about it now. After all, it's just three days out of 365. Let it pass like a flu or a teenage acne. Try to think Positive Thoughts [TM], though it might be hard as hell when you're dead tired all the time. One would only like to hibernate like they let all the other mammals do, don't they? Only humans have to force themselves to spend their winters awake. Unlike bears who can comfortably curl up in some cosy and warm cave after having eaten their bellies full. No, we have to wake up every dark winter morning and violently tear ourselves off from our warm, womb-like beds to the angry artificial light and head for our jobs and schools and kindergartens and prison workshops and whatever, only to get back home when it's dark again. We have to keep fit and do our exercises, aerobics and whatever even in the middle of the darkest wintertime when the only natural thing to do was to eat ourselves out of shape and sleep, sleep, sleep. Life is not fair. Yawn.

(*) This does not concern any of you lucky bastards living in Australia and other sunny, warm places like that; only us sub-arctic dwellers of the frozen, dark Northern hemisphere in this weary, dreary time of the year.

Monday, November 21, 2005

On Factionalism

Let's investigate further the concept of "gathering the tribes".

In all actions one should avoid factionalism; that is, favouring one group at the expense of the other. This being easier said than done, finding one's way honourably means having to do concessions every now and then.

How to maintain good relations with all parties concerned, and how to avoid conflicts which seem inevitable when strong minds want to stick to their own ideas and opinions, without giving up an inch and unwilling to do any compromises?

One must be honest and answer oneself the questions: am I willing to take on this for the benefit of all people, or am I only doing this opportunistically to strengthen my own position, to gratify my own ego? (Not to speak about the financial gain, of course.) It is sometimes hard to remember that one is only one drop in the ocean, only one link in the chain.

Sometimes the best option seem to say nothing, do nothing. For an ambitious (and probably unpatient) person this is extremely frustrating. It may feel like this will only lead one into isolation. Then, one should ask, how great that isolation would eventually be if one would let oneself be fooled into a full-scale conflict.

Going solo altogether seems sometimes to be the best way to maintain one's freedom, but when gains some, one loses some.

From I Ching:

Hexagram 13. T'ung Jên / Fellowship with Men



It furthers one to cross the great water.
The perseverance of the superior man furthers.

True fellowship among men must be based upon a concern that is universal. It is not the private interests of the individual that create lasting fellowship among men, but rather the goals of humanity. That is why it is said that fellowship with men in the open succeeds. If unity of this kind prevails, even difficult and dangerous tasks, such as crossing the great water, can be accomplished. But in order to bring about this sort of fellowship, a persevering and enlightened leader is needed--a man with clear, convincing, and inspiring aims and the strength to carry them out. (The inner trigram means clarity; the outer, strength.)


Heaven together with fire:
Thus the superior man organizes the clans
And makes distinctions between things.

Heaven has the same direction of movement as fire, yet it is different from fire. Just as the luminaries in the sky serve for the systematic division and arrangement of time, so human society and all things that really belong together must be organically arranged. Fellowship should not be a mere mingling of individuals or of things--that would be chaos, not fellowship. If fellowship is to lead to order, there must be organization within diversity.


Nine at the beginning means:
Fellowship with men at the gate.
No blame.

The beginning of union among people should take place before the door. All are equally close to one another. No divergent aims have yet arisen, and one makes not mistakes. The basic principles of any kind of union must be equally accessible to all concerned. Secret agreements bring misfortune.

° Six in the second place means:
Fellowship with men in the clan.

There is danger here of formation of a separate faction on the basis of personal and egotistic interests. Such factions, which are exclusive and, instead of welcoming all men, must condemn one group in order to unite the others, originate from low motives and therefore lead in the course of time to humiliation.

Nine in the third place means:
He hides weapons in the thicket;
He climbs the high hill in front of it.
For three years he does not rise up.

Here fellowship has changed about to mistrust. Each man distrusts the other, plans a secret ambush, and seeks to spy on his fellow form afar. We are dealing with an obstinate opponent whom we cannot come at by this method. Obstacles standing in the way of fellowship with others are shown here. One has mental reservations for one's own part and seeks to take his opponent by surprise. This very fact makes one mistrustful, suspecting the same wiles in his opponent and trying to ferret them out. The result is that one departs further and further from true fellowship. The longer this goes on, the more alienated one becomes.


Hexagram 6. Sung / Conflict


The upper trigram, whose image is heaven, has an upward movement; the lower trigram, water, in accordance with its nature tends downward. Thus the two halves move away from each other, giving rise to the idea of conflict. The attribute of the Creative is strength, that of the Abysmal is danger, guile. Where cunning has force before it, there is conflict.

A third indication of conflict, in terms of character, is presented by the combination of deep cunning within and fixed determination outwardly. A person of this character will certainly be quarrelsome.


CONFLICT. You are sincere
And are being obstructed.
A cautious halt halfway brings good fortune.
Going through to the end brings misfortune.
It furthers one to see the great man.
It does not further one to cross the great water.

Conflict develops when one feels himself to be in the right and runs into opposition. If one is not convinced of being in the right, opposition leads to craftiness or high-handed encroachment but not to open conflict.

If a man is entangled in a conflict, his only salvation lies in being so clear-headed and inwardly strong that he is always ready to come to terms by meeting the opponent halfway. To carry one the conflict to the bitter end has evil effects even when one is the right, because the enmity is then perpetuated. It is important to see the great man, that is, an impartial man whose authority is great enough to terminate the conflict amicably or assure a just decision. In times of strife, crossing the great water is to be avoided, that is, dangerous enterprises are not to be begun, because in order to be successful they require concerted unity of focus. Conflict within weakens the power to conquer danger without.


Heaven and water go their opposite ways:
The image of CONFLICT.
Thus in all his transactions the superior man
Carefully considers the beginning.

The image indicates that the causes of conflict are latent in the opposing tendencies of the two trigrams. Once these opposing tendencies appear, conflict is inevitable. To avoid it, therefore, everything must be taken carefully into consideration in the very beginning. If rights and duties are exactly defined, or if, in a group, the spiritual trends of the individuals harmonize, the cause of conflict is removed in advance.


Six at the beginning means:
If one does not perpetuate the affair,
There is a little gossip.
In the end, good fortune comes.

While a conflict is in the incipient stage, the best thing to do is to drop the issue. Especially when the adversary is stronger, it is not advisable to risk pushing the conflict to a decision. It may come to a slight dispute, but in the end all goes well.

Nine in the second place means:
One cannot engage in conflict;
One returns home, gives way.
The people of his town,
Three hundred households,
Remain free of guilt.

In a struggle with an enemy of superior strength, retreat is no disgrace. Timely withdrawal prevents bad consequences. If, out of a false sense of honour, a man allowed himself to be tempted into an unequal conflict, he would be drawing down disaster upon himself. In such a case a wise and conciliatory attitude benefits the whole community, which will then not be drawn into the conflict.

Six in the third place means:
To nourish oneself on ancient virtue induces perseverance.
Danger. In the end, good fortune comes.
If by chance you are in the service of a king,
Seek not works.

This is a warning of the danger that goes with an expansive disposition. Only that which has been honestly acquired through merit remains a permanent possession. It can happen that such a possession may be contested, but since it is really one's own, one cannot be robbed of it. Whatever a man possesses through the strength of his own nature cannot be lost. If one enters the service of a superior, one can avoid conflict only by not seeking works for the sake of prestige. It is enough if the work is done: let the honour go to the other.

Suomi Soundz Playlists...

... can be found here. Some of these sets may be available online in the future as MP3s.

There were two black-clad goth-girls who came to us to have a record request. I thought they wanted to hear some gothrock or some gloomy synthpop, but it was DJ Proteus (progressive house/trance) that they requested! O tempora, o mores...

Saturday, November 19, 2005

IXTHULUH, Another Obscure Krautrock Band

Ernst Matscheko wrote to me from Austria and requested me to add this band to pHinnWeb's Krautrock links, additionally informing me that:

IXTHULUH was a psychedelic Krautrock band from Austria. Starting with jazz rock, the band soon switched to their own direction, called "near Siberia". Founded 1975, the group was named Ixthuluh since spring 1976. At the beginning enhanced by bands like Can, Gato Barbieri or Gong, they started early looking for their own sound far off from music business. The group bought an old farmhouse in 1977 and changed from the band Ixthuluh to the Kollektiv Ixthuluh. Totally five discs document their work history.
Today the band maybe would be characterized as a jam band. The group disbanded at the end of 1981.


1976/77: Yes We Are A Jazzband
1978/79: No Money For A Radio
1980: Tea At Two
1981: What's The Name

The best album is Tea At Two.

(Excerpt of an review) Two very long tracks dominate the disc. "Forbidden Fruits" is a song in best old Krautrock tradition, reminiscent of Berlin's Ash Ra Tempel, with a pinch of Pink Floyd. "The Long Trail To Gila Bridge" is a song without a pattern, the band calls this sound "off-road rock" -- that's right! "Sittin On My Lonely Chair": only played by drums and electric guitar seems to be a rumbling song of the exercise room at the beginning and evolves to a song full of urgency and expression. There is no feeble song on this album.

Friday, November 18, 2005

SUOMI SOUNDZ, Saturday 19 November 2005

[large image]

All-Finnish Music Night @ Apadana, Tampere
Saturday 19 November 2005.

Sane (M.A. Numminen Band)
pHinn (Kompleksi, pHinnWeb)

Paco Rabanne

"I know that the sensible thing to do would to follow the common thinking but that is what an artist is unable to do. The intention of Picasso and Dalí was to always create something new, to go even further. Artists always strive for discovering something else, always to reach the outer limits of their abilities. It is not a question of futurism or avantgardism. I don't know what avantgarde is. I suppose it is living in one's time, in the present. It is enormously difficult, because even if some fantastic techniques do exist, everyone still remains almost 20 years behind their time. People are afraid of adopting new ideas." - Paco Rabanne

Arto Salminen In Memoriam

Finnish author Arto Salminen has died at the age of 46 in his native Hausjärvi. The cause of death was sudden seizure. Salminen was born on 22 November 1959 in Helsinki. He penned six novels which earned him a cult reputation in Finland. Those were Turvapaikka (1995), Varasto (1998), Paskateoria (2001), Ei-kuori (2003), Lahti (2004) and Kalavale (2005). Salminen's books were biting social satires spiced with morbid black humour and ugly characters; criticizing life in modern Finland with its increasingly neo-liberalist politics, the growing power of yellow press, sleazy gossip media and reality-TV. Arto Salminen's death is a serious blow to Finnish literature.

Arto Salminen @ pHinnWeb

Thursday, November 17, 2005

Fffolk Vs. Electronicszzz

On his blog Voltage, Max Clarke a.k.a. Maxx Klaxon raises some interesting points about the current folk revival.

As someone who subscribes to ooooo mailing list (the home of Finnish marginal and eclectic music, among all with most of those folk(s) belonging to the "New Weird of Finland" movement lauded in The Wire and international zines) and has followed what people like Kemialliset Ystävät are doing, I find this quite interesting. I might argue that what I find myself attracted to in this sort of music (often called "psychedelic folk" or "New Weird of...") is not the fact that it is created with acoustic instruments but the overall spirit of experimentation that is found there: all those weird sounds and otherworldy ambience. Those are not exactly traditional strumming acoustic guitar by campfire sounds, but something totally creating a world one can call its own. Then, I'm not familiar myself with most of the other artists belonging to this alleged "new folk" genre, e.g. Devandra Banhart, so I can't really comment this style in general.

Musical "fashions" repeat themselves in cycles and have a tendency to reflect the general Zeitgeist: in unsure times people obviously have a need to return to the "roots", to what is "safe", "tried and true". Even then, musical experimentation and seeking for what is "new" is bound to go on somewhere in the margins.

To throw more gasoline in the flames: how much there is that is actually "new" in current electro(nic) music, and how much of that is only recycling what was already done in the 1980s?

Anyway, this seems to me to be another revival of the age-old confrontation between "authentic", "natural", "down-to-Earth" acoustic/rock music and the "artificial", "unnatural", "unauthentic" electronic (dance/listening) music; of which I grew up tired years ago after countless "it is/it isn't" type of arguments which proved totally unfruitful and counterproductive in the end. Doesn't it only boil down to subjective tastes, personal likes and dislikes? An artist tries to make most of those instruments and resources at his/her disposal, whether they were acoustic or electric guitars, violins, flutes, kazoos, washboards, Moog synths, Roland's x0x series, MAX/MSP, empty oil barrels or rubber bands. In the end it's creativity that counts, not the means to reach that end result.

[Video] Amon Düul II: 'Eye-Shaking King'

You can see those furry Krauts, Amon Düül II, in action here (48MB wmv file). The track is 'Eye-Shaking King' from one of their best albums, Yeti. A clip from the Beat Club TV show in 1971, with psychedelic video effects and Blitzkrieg edits. Jawohl, baby!

Krautrock @ pHinnWeb

Monday, November 14, 2005

More Arctic Hysteria / Son of Arctic Hysteria / Love Records History

More Arctic Hysteria / Son of Arctic Hysteria is a new 2-CD compilation on Siboney label about the history of Finnish avantgarde music of the 1970s and 80s, which is a continuation to the 2001 CD Arktinen hysteria - Suomi-avantgarden esipuutarhureita (which I reviewed here). Featuring Jimi Tenor, Läjä Äijälä and early Mika Vainio (Pan sonic), The Sperm activists Mattijuhani Koponen and Pekka Airaksinen, Edward Vesala at his wildest, Kari Peitsamo, Kauko Röyhkä and Sleepy Sleepers at their most experimental and many other musical alchemists from Pekka Streng to Reinin Myrkky -- as a bonus some no-holds-barred sound experiments of Kaj Chydenius and M.A. Numminen from the 60s.


[Love Records: their logo was somehow suggestive, eh?]

There is also a new book on the history of the legendary Finnish label Love Records -- Siboney is the label which re-releases on CD the works of this label which went bankrupt in 1979. The author, Miska Rantanen, has his own blog (in Finnish) concerning the book here.

Chicks on Speed 2005 US Tour

Those crazy Chix again on tour in the Bushland! You can see the tour poster here.

"Reading Between The Lines" US Tour 2005:
CoS appearing with Our Aura Hour starring Kevin Blechdom & Planningtorock (except at shows marked with **):

10.11. USA-West Hollywood, CA - Key Club
11.11. USA-San Francisco, CA - The Independent
12.11. USA-Portland, OR - Holocene
14.11. USA-Seattle, WA - Chop Suey
17.11. USA-Chicago, IL - Abbey Pub
18.11. USA-Washington, DC - Nation
19.11. USA-New York, NY - Knitting Factory
21.11. CAN-Edmonton, AB - New City Compound **
22.11. CAN-Calgary, AB - Broken City
26.11. USA-Miami, FL - Bang!Music Festival, Bugged Out Tent **

Saturday, November 12, 2005

Ravekulttuurin kuolemasta

Jussi Karsikas kommentoi, edelleen ooooo-listalla, käyttäen sitaattia Hakim Beyn (alias Peter Lamborn Wilsonin) haastattelusta:

Wilson: A lot of people tell me that they have enjoyed or benefited from my work, for which I’m naturally very pleased. But in a lot of cases they have very different tastes than I do. I’m a sixties guy. I don’t like industrial music or even rock ’n’ roll. I am willing to accept rock ’n’ roll as an orgiastic music, but I think it’s disgusting that I have to have orgiastic music spewed at me from every single orifice of modern civilization, all the time, nonstop, to make me buy more products and lose my intellectual acuity and start shopping. I also don’t like the drugs that they use—I prefer mushrooms and pot. I don’t enjoy raves. The ravers were among my biggest readers—they’re now getting a little old themselves. Personally, I don’t enjoy those parties. This is a matter of taste. I’m happy that they’re happy, but I don’t want to go to the party. I’m not 20-years-old anymore, I get tired. But fine for them. Terrific. I wish they would rethink all this techno stuff—they didn’t get that part of my writing. I think it would be very interesting if they took some of my ideas about immediatism and the bee. Small groups should do art for each other, and stay out of the media as much as possible, and this will eventually cause a buzz and make people want to be part of it. I’m waiting—maybe before I die there will be a hip Luddite movement. I’ll probably like their parties and go to them. But it’s not happening. Most of the people interested in TAZ tend to be very techno-oriented. But as I say, if they’re having a good time, God bless them. Allah bless them. Goddess bless them. Just bless them. I think that’s terrific. It’s important to have those TAZ experiences. If you didn’t, you wouldn’t know what there is to struggle for.

TAZ-ideaa ( tosiaan siteerattiin paljon 90-luvun tekno- ja rave-kulttuurissa; ehkä Wilson tykkää kyttyrää siitä, että ihmiset lukivat hänen teoriaansa tällä tavoin "väärin", mutta niinhän se aina menee kulttuurissa. Toisaalta vanhojen hippienkin kannattaa muistaa, että Acid Test- ja Trips Festival -tapahtumat, joita Ken Keseyn Merry Pranksters ja muut järjestivät Kaliforniassa 60-luvun puolivälissä, olivat tavallaan jo eräänlaisia ravebileitä. 90-luvun ravekulttuuri kuihtui henkisesti viimeistään siinä vaiheessa, kun tupakkatehtaat ja energiajuomafirmat alkoivat sponsoroida suuria massatapahtumia ja DJ:stä tehtiin rocktähtiä. Se, mitä nykyään reiveistä on jäljellä, on eräänlainen pseudomorfoosimuoto (jos käytetään Oswald Spenglerin termiä), eli ilmiöstä jää jäljelle varsinaisen henkisen sisällön poistuttua vain tyhjä ulkoinen muoto tai kuori, jota toistetaan rituaalimaisesti ja tavan vuoksi. Vuoden 2005 ravekulttuuri (esim. psy-Goa-whatfuckingever-trance tai progressiivinen -- ha ha -- house) on yhtä väsähtänyttä ja tyhjää kuin rock oli 70-luvun puolivälissä ennen kuin punk tuli. Paljon mielenkiintoisempia asioita musiikissa tapahtuu nyt jossain muualla.

En itse juurikaan kaipaa 90-luvun tehdashallibileitä, jotka olivat minusta silloinkin varsin ahdistavia tapahtumia, joissa tanssittiin kylmällä betonilattialla pölyisessä hallissa (joillakin masokisteilla oli vielä kaasunaamarit päällä), kun rytmi vyöryi päälle tehtaan koneiden volyymillä ja pelättiin, että kukahan herkkä yksilö tällä kertaa saa kaikista välkkyvistä valoista epilepsiakohtauksen. Toisaalta ikä vaikuttanee siihen, että ei ole enää intoa rankaista itseään fyysisesti ja henkisesti äärirajojaan etsien samalla tavalla kuin ennen. Pienet, intiimit klubit ovat paljon miellyttävämpiä paikkoja musiikille.

Rave is dead, long live post-techno.


Oma paska, sekavasti ja kömpelösti kirjoitettu tekstini, alun perin vuodelta -94 ja jonkin verran myöhemmin päivitetty:

Friday, November 11, 2005

Klubeista ja yleisestä eksistenssistä

Postittelin ooooo-listalle hieman mutu-tyyppistä pohdiskelua pohjalta KISS (Keep It Simple, Stupid) kommentteina keskusteluun klubien järjestämisen vaikeudesta, depressiosta ja muusta...

Se, että joku pystyy pitämään yllä musiikkiklubia yli viisi vuotta, on ehdottomasti hatunnoston arvoinen asia. Ne tapahtumat, joita olen ollut itse mukana järjestämässä, eivät ole yleensä kestäneet vuottakaan (viimeisin, Eclectro Lounge, pysyi hengissä peräti kahdeksan kuukautta). Eli kannattaa muistaa, että Hakim Beyn Temporary Autonomous Zone -ajatus sopii erityisesti äärimmäisen lyhytjänteiseen klubikulttuuriin, jossa ihmiset kyllästyvät nopeasti ja etsivät jatkuvasti uusia vihreämpiä laitumia.

Itse haluaisin toteuttaa jonkinlaista "gathering of tribes" -tyyppistä ihannetta, että oltaisiin saman konseptin puitteissa avoimia niin elektroniselle kuin ei-elektroniselle sekä kokeelliselle musiikille, rytmiselle sekä vain kuunteluun sopivallekin. Vaan tämä taitaa olla vain omaa utopistista ajatteluani, koska käytäntö on osoittanut ainakin toistaiseksi, että ihmiset yleensä haluavat jämähtää niihin kuppikuntiinsa ja kyräillä kaikkea, mikä ei kuulu siihen "omaan juttuun". Esimerkiksi paikallisen teknoporukan kanssa minulla ei ole paljon mitään tekemistä, koska näiden insinöörihenkinen härveli-/nippeli-/softa-/moitteeton biittimiksaus -painotteinen ajattelu, jossa Star Wars/Trek/X-Files ja netistä imuroitu porno ovat kaiken muun kulttuurin ainoa muoto, menee aika lujaa itseltä ohi. Toisaalta taas olen kai liiaksi urbaanin, ironisen, kylmän, kyynisen ja henkisiä ristiriitoja uhkuvan kasvuympäristön parkkiinnuttama, että mikään maanläheinen metsäkeiju- ja "takaisin luontoon" -ajattelu aidosti voisi minulle toimia. Silti voi kyllä yrittää kuunnella, mitä tällaisilla ihmisillä on sanottavaa.

Depressiosta en ehkä voine sanoa oikein mitään, koska omat ratkaisuni voivat kuulostaa kovin kylmiltä ja suoraviivaisilta eivätkä välttämättä toimi kenellekään muulle. Itselleni toimi oman aikansa formula Prozac + terapia ja ajatusten jakaminen neutraalin ammatti-ihmisen kanssa, joka ei saanut joka kerta sätkyä skitsojeni kuuntelemisesta + lähteminen kävelemään paskanjäykästä akateemisesta ympäristöstä, johon sukuni halusi minua väkisin tunkea + "sen oman jutun" löytäminen musiikista ja ympäröivästä kulttuurista + tavallinen kasvaminen -- joka kesti oman aikansa, valitettavasti. Olen siis drop-out, joka elelee sossun ja Kelan rahoilla (ja satunnaisilla harhaanjohdettujen sielujen selkääntaputuksilla, joilla ei valitettavasti makseta vuokraa), mutta joitakin rahatilanteen tuomia hetkittäisiä ahdistustiloja lukuun ottamatta koen olevani yllättävänkin tyytyväinen tämänhetkiseen eksistenssiini.

Ratkaisuna musiikkitapahtumien järjestämisen vaikeuteen olen pohtinut, että ehkä jonkinlaisen pienimuotoisen nettiradiotoiminnan kehittämisessä voisi olla nyt jotain ideaa... maailmanlaajuinen levitys ja täydellinen taiteellinen vapaus ilman humalaisten jurpojen herjoja tai taskulaskimiaan onanoivien ohjelmapäälliköiden orjuuteen alistumista.

Maassa maan tavalla tai maan alle!

Wednesday, November 09, 2005

Femdom Art

[Skip this one if you're under 18 years old.]

Femdom Art -- this has to be seen to be believed... is this perhaps someone's idea of post-feminism?

Tuesday, November 08, 2005

John Fowles In Memoriam

John Fowles, the author of one of my all-time favourite books, The Magus (1965/revised 1977), has died at the age of 79. He also penned such books as The Collector (1963) and The French Lieutenant's Woman, both known as film adaptations (there is also a film version of The Magus, starring Michael Caine, but it is generally considered a disaster).

John Fowles: The Website

John Fowles @ Wikipedia


BBC News
The New York Times

[MP3] Kommandomixes November 2005 Part II

[large image]


Mike Not & pHinn: Set II @ Eclectro Lounge, 20 October 2005

The Cure: The Walk [pH]
Calico Wall: I'm A Living Sickness [pH]
Yello: Daily Disco [pH]
Propaganda: P-Machinery [pH]
Alphaville: Sounds Like A Melody [pH]
Erasure: Love To Hate You [pH]
2 Live Crew: Doo Wah Diddy [MN]
(+ Mike Not's old school hip-hop set)
Kompleksi vs. Polytron: Porno Tampere [pH]
Kitbuilders: Tell Me [pH]
Orbital: Wasted/Belfast [pH]
Duran Duran: The Chauffeur [pH]

DJ Autobass: X-Rated Electro/Ghettobass Set @ Eclectro Lounge, 20 October 2005

[including among all - Dopplereffekt: Mannequin / Adult.: Nausea / Steve Poindexter: Work That Motherfucker / DJ Slugo: Back Da Fuck Up - etc.]

pHinn: Set IV @ Eclectro Lounge, 20 October 2005

"Good news, boppers"
The Octagon Man: Assault
Drexciya: The Countdown Has Begun
Underground Resistance: Electronic Warfare (vocal)
Tackhead: Mind at The End of The Tether
Mark Stewart: As the Veneer of Democracy Starts To Fade
Pan sonic: Parturi
No Scene: 230801
The Operator: /sbin/rec2.d/5760auditing
Drexciya: Living On The Edge
Aux 88: I Need To Freak (Microknox Vocal Radio Ediyt)
I-f: Superman (Live at 'De Bruine Planeet')
Imatran Voima vs. Bass Junkie: Quad City (Bass Junkie Version)
Dynamix II: Pledge Your Allegiance To Electrofunk
The Future Sound of London: We Have Explosive (Mantronik Plastic Formula #1)
I-f feat. Helga La Blaque: Playstation #2
Adult.: D.U.M.E.
Organ: For Next
Zager & Evans: In The Year 2525
Divine: I'm So Beautiful
Mary Hopkin: Those Were The Days


All soundfiles available @ pHinnWeb.

In all our mixes we are committed to Kommandomix Manifesto.

Monday, November 07, 2005

Nautinnosta ja kärsimyksestä

Nautinto ja kärsimys ovat saman kolikon kääntöpuolia. On tietyllä tapaa helppo tajuta, miksi ihminen haluaa tuottaa toisille kärsimystä -- vallanhalun, itsekkyyden, tietämättömyyden ja silkan aggression vuoksi -- mutta miksi ihminen haluaa tuottaa kärsimystä itselleen? Luonnollisestikaan hän ei tee tätä tietoisesti -- elleivät kyseessä ole masokistien ja flagellanttien (itsensäruoskijoiden) ryhmät -- mutta päätyy kuitenkin kärsimykseen. Siihen häntä vievät hänen omat viettinsä ja nautinnonhalunsa, jotka johtavatkin toisenlaiseen päämäärään kuin oli tarkoitus.

Onko kärsimyksen määrä maailmassa ollut aina vakio? Meidän on mahdotonta tietää. Miksi onni jakautuu ihmisten kesken epätasaisesti? Marxilaiset selittävät tämän yhteiskunnan voimasuhteilla. Kristityt toteavat ykskantaan, että "tutkimattomat ovat Herran tiet". Hindut puhuvat karmasta. Buddhalaiset sanovat, että elämä on kärsimystä, ja kärsimys voidaan lopettaa sammuttamalla elämänjano.

Onko onnen ja epäonnen kokemuksissa paljolti kyse subjektiivisista tavoista hahmottaa maailmaa, olennaisista eroista optimistin ja pessimistin välillä? Joitakin ihmisiä kohtalo kolhii, mutta he jaksavat silti vain uskoa parempaan päivään vielä. Toiset samassa tilanteessa olevat taas uskovat olevansa jollakin tavalla kirottuja, tuomittuja. He ovat sitä mieltä, että mitään hyvää ei voi tapahtua heille; että he ovat kielteisten tapahtumien noidankehässä, josta kerrassaan ei ole ylöspääsyä. Ehkä heille ei ole koskaan pystynyt kehittymään perusturvallisuuden tunnetta siitä, että elämä kantaa kyllä, kuten myönteisemmin vastoinkäymisiin kykenemään suhtautuville ihmisille.

Kärsijä saa tyydytyksensä marttyyrin roolista. Hän tekee itsestään uhrin, jotta saisi myötätuntoa muilta ihmisiltä. Hän romantisoi itsetuhon ajatusta. Hän leikittelee ajatuksella, että vasta sitten kun hän on kuollut, hän saa ihmisten huomion ja myötätunnon. Kärsijä ei tajua tilanteensa pateettisuutta ja naurettavuutta. (Toki on kliinisiä depressiotiloja, jotka vaativat todella hoitoa ja lääkitystä; toki läheisen kuoleman kaltaiset tilanteet tuovat surutyön, joka on käytävä läpi, mutta tässä tekstissä puhumme pikemminkin tietynlaisesta elämänasenteesta.) "Kärsi, kärsi, kirkkaamman kruunun saat" on hänen johtoajatuksensa, ja hän kantaakin ylpeänä synkkää marttyyrikruunuaan. Hän ei ymmärrä, että suurinta osaa maailman ihmisistä tuskin voisi vähempää liikuttaa hänen ahdinkonsa. Sillä samaan aikaan, kun hän kieriskelee tuskissaan, jossakin muualla ihmiset juhlivat ja pitävät hauskaa. Näin on aina ollut ja näin on aina oleva, Waltarin Sinuhea mukaillaksemme.

Nautiskelija on näennäisesti kärsijän täydellinen vastakohta, mutta monesti nautiskelija nauttii pääasiassa unohtaakseen itsensä. (Ellei kyse ole jonkinlaisen älyllisen tyydytyksen saamisesta myös.) Ja mitä suurempi nautinto, sitä jyrkempi laskeutuminen, joka seuraa. Yltäkylläisyyden tie todella vie viisauden palatsiin, ja viisaus saattaa maistua äärimmäisen kitkerältä.

Suomalaisuus on suru- ja kärsimysorientoitunut kulttuuri. Protestanttinen perinne, edelleenkin elävät muistot pulavuosista ja nälästä, sekä voimakas sosiaalinen kontrolli ovat pitäneet huolen siitä, että nautinnontavoitteluun liittyy aina jotain häpeällistä ja sopimatonta. Paikallisessa tavassa nauttia on siksi jotain hysteeristä ja pakonomaista; nautitaan vaikka hampaat irvessä. Raskas työ (ja raskas elämä) vaatii raskaat huvit. Arktinen hysteria tuo jotain liki itsetuhoisuutta hipovaa nautintoon ja "juhlimiseen". Sulkeutunut kansanluonne tuo oman lisänsä: yleinen mentaliteetti edellyttää tunteiden hillitsemistä ja niiden patoamista. Tämä vaatii puolestaan sitä, että tajunta on "nollattava" tietyin väliajoin, ja pullon henki on vapaaksi päästettynä liian useasti raivokas ja tuhoava.

Thursday, November 03, 2005


[Sorry, again Finnish only...]

Olemme oman subjektiivisen näkökulmamme vankeja. Tämä on kuin painovoimahauta, josta ei ole ylöspääsyä. Tämä tunnelinäön muoto rajoittaa kaikkia ajatuksiamme ja tekojamme. Olemme juuttuneet tottumuksiimme, luutuneet ahtaisiin näkökantoihimme. Kukaan meistä ei voi todella kulkea toisen kengissä ja nähdä asioita toisen silmin. Toisaalta juuri tämä rajoituksemme tekee jokaisen meistä kokemuksen ainutlaatuiseksi.

Joskus silti tulee jokaisen ihmisen eteen tilanteita, joissa hän huomaa kipeästi nämä rajallisuutensa ja tajuaa, että hänen on itse muututtava jotenkin, koska tilanne välttämättä vaatii tätä. Eri ihmiset reagoivat tähän muutoksen tarpeeseen eri tavoin. Jotkut alkavat kipuilla ja oireilla: he syövät tai juovat liikaa, etsivät unohtaakseen eskapistista kokemusta viihteestä, seksistä, huumeista... Tätä vieraantumiskokemusta selitetään yleensä yksilöpsykologisilla tai yhteiskunnallisilla tekijöillä, ja näiden selitysmallien esittäjät ovat jakautuneet kilpaileviin koulukuntiin, joilla kaikilla on omat totuutensa. Vastauksia tarjoilevat uskonnot, erilaiset ismit, kaikenlaiset oma apu- ja itsehoito-oppaat, muodikkaat opit "sisäisen sankarin" löytämisestä, ja niin edelleen.

Kaikilla näillä on kuitenkin omat rajoituksensa: ei ole yhtä yleispätevää, universaalia mallia siitä, miten yksilön pitäisi toimia tai elää, vaikka edellä mainitut opit mieluusti niin väittävätkin. Näistä voi parhaimmillaan löytää inspiraation elämälleen, mutta käytännön sovellutukset on kuitenkin rakennettava itse.

Monesti meillä ei tunnu olevan kovinkaan paljon vaihtoehtoja valittavanamme. Tuntuu, että meidän on valittava kovin ahtaista rooleista: joko uhrin tai "sisäisen sankarin", sivustakatsojan tai toimijan. Uhri elää toistuvissa kriiseissä ja kerjää jatkuvasti toisten myötätuntoa ja sääliä, imee kanssaihmistensä energiaa kuin musta aukko. Sivustakatsoja voi vain tarkkailla, mutta ei juurikaan vaikuttamaan elämään ympärillään. "Sankarin", toimijan, on pysyttävä jatkuvasti lujana; toisten esikuvana, tukena ja turvana: hän ei saa horjua eikä taipua. Ihmiset odottavat, että hänellä on jatkuvasti tarjottavana jokin ratkaisu elämän moninaisiin ongelmakysymyksiin. (Tiesittekö, että "sankarit" ovat useasti tyhjää täynnä?) Olemmeko omaksumiemme roolien vankeja?

Muutos -- liikkuminen roolista toiseen -- on useasti tuskallinen: meidän on tehtävä asioita, joita emme haluaisi tehdä; voitettava pelkomme, ennakkoluulomme, mukavuudenhalumme, riippuvuutemme. Hait ovat eläimiä, joiden on koko ajan pysyttävä liikkeessä, uitava eteenpäin; muuten ne kuolevat.

Wednesday, November 02, 2005

Tapahtumien järjestämisestä itse

(Sorry, feeling lazy today, so this entry is only in Finnish.)

Erilaisten tapahtumien järkkääminen on äärettömän turhauttavaa touhua. On tullut empiiristen kokeiden kautta se käsitys, että ihmiset haluavat, että:

- tapahtuma on mieluiten lauantaina, koska arkisin pitää herätä aikaisin töihin ansaitsemaan lisäpennosia kvartaalimiljonääreille
- tapahtuman pitää olla mediaseksikäs, eli sitä on haipattu viikkokaupalla bulevardilehdistössä ja kaapelikanavilla
- liput ovat halvat tai sisäänpääsy mieluiten ilmainen, mutta paikalla täytyy kuitenkin olla huippuluokan nimiä esiintymässä livenä (DJ:t ovat vain se pakollinen paha, pääaterian vihannekset jotka voi jättää syömättä -- ellei kyseessä ole jokin trendibiittiä pyörittävä superstarahuora), mielellään ulkomaan eläviä, jotka ovat tuttuja kaikista trendikkäistä maailman lehdistä
- paikalle voi tulla mahdollisimman myöhään, aikaisintaan vasta keskiyön jälkeen, että ehtii vetää kotona kunnon pohjat
- paikalla -- joka on tupaten täynnä, tuli sisään sitten mihin aikaan tahansa -- on (kaikkien omien tuttavien lisäksi) kaikki kaupungin viileimmät, seksikkäimmät ja ihquimmat naamat, joiden kanssa voi mennä harrastamaan irtoseksiä illan lopuksi
- ja näiden pitää kaikkien vetää mahdollisimman paljon viinaa illan aikana, jotta taskulaskimiaan räpelöivät ohjelmapäällikötkin ovat tyytyväisiä, että antavat lisää noita himoittuja lauantai-iltoja tapahtuman järjestäjille

Mutta kannattaa muistaa, että sitten kahden-, kolmenkymmenen vuoden päästä, kun tapahtuman järjestäjä on jo kaikesta kumuloituneesta turhautumisesta ehtinyt juoda itsensä hengiltä tai vetää itsensä jojoon, erilaisten historiikkien kirjoittajat -- ja yleensä oman aikansa underground-tapahtumille nihkeät aikakausjulkaisutkin -- muistelevat lämmöllä näitä maineikkaita tapahtumia esiintyjineen ja niiden nyt postuumissa maineessa paistattelevia legendaarisia järjestäjähahmoja.

t: pHinn, epäonnekseen vielä elävien kirjoissa