This week we are joined by Finn Albertsson, better known as Finn of Tomland. He fluently speaks the language of downtempo soundscapes, blending them into each other and creating a highly tense atmosphere throughout the journey Finn takes us on.
This podcast is accompanied by a small Q&A, necessary to get a better understanding on the work of this very experienced and skillful artist. We invite you to read along and let the music play.
Z: First for people who aren’t familiar with your oeuvre, any words on past endeavours?
FoT: I became a Chill-Out/Ambient Dub DJ in 1994 and had my first club at a restaurant here in Malmö called Tempo Bar & Kök. After which I had a club at another restaurant named Röda Kran. Both clubs kept going on for many years, but after 12 years I started a new endeavor as a DJ at Culture Box in Copenhagen. This is thanks to the lovely Kenneth Christiansen (Echocord).
I was a resident DJ there for 6 years and that led to having more and more club- and festival gigs, both in Malmö and Copenhagen. Here in Malmö, the very creative Ulf Ericsson (Kontra-Musik/Inkonst/Intonal) spoiled me with great gigs. In Stockholm it is Krzysztof Karlsson (Kliin/FLiM Stockholm) who has treated me to some very fine gigs.
Apart from that, i have DJ’d at the following festivals: Störung in Barcelona, Strøm and Trailerpark in Copenhagen and Norbergfestival here in Sweden, just to name a few. The list of DJ’s I have played with is rather long, but to name a few live acts that i have warmed up for:: The Orb, Biosphere, Alva Noto, Byetone, Snd, Senking, Murcof, Peder Mannerfelt, Emptyset. In 2014, I had a sound installation in Tokyo curated by Yukitomo Hamasaki (mAtter). One can say that I have been around the block.
Z: Indeed, which is also why it is so important to note that these developments in your career is to understand your music and the concept of your label SonuoS better. SonuoS is a label which, in our opinion, shows a high level of craftsmanship and consistency. Even more necessarily so in this day and age of readily available (digital) music, which can lead to to an overflow within the genre of electronic music. What is the current state of your label?
FoT: SonuoS is doing so-so. This is because there’s almost no market at all for experimental music between 35 and 80 bpm, but i do get a lot of praise from friends, DJ’s and other artists, so from that point of view it’s fulfilling.
I just wished that more people would actually buy those white 12” and enjoy them. But the latest one by Swedish artist A.O.T that comes with a Go Koyashiki remix has sold out and got restocked at Juno and that’s a first, so I think this specific vinyl is doing rather good. Apart from the A.O.T EP, i have done three more 12” releases with the following very fine artists: Pokk! with a Mokira remix, Valanx with a Yves De mey remix and Plaster with a Substance remix.
Z: Reflecting this on the podcast, what kind of influences can we find?
FoT: Anything and everything experimental with a clear thought behind it that has a high level of creativity and craftsmanship, in both the sound design and production. Moreover, I don’t care about fame, because that is not a warranty for great experimental music at all these days.
Z: That is very much true, although good music is a constant and will be (re-)discovered throughout time as gems. Can you tell us what direction lies in the future for you as an artist?
FoT: I’m not in a hurry to get in a certain direction, when it comes it comes. I like to go with the flow and not stress it.
Z: And to conclude this, how would you judge the direction contemporary electronic music is taking?
FoT: Well, I know that the experimentalism and craftsmanship in contemporary electronic music in between all bpm’s, from Drone to Techno, will continue. Since the start of this cultural revolution this has been the case and that’s because there’s always a lot of new blood that wants to get on/into this scene with a lot of interesting ideas out there, so i think the future looks very bright.
I hope that people will stop buying every “new” old synthesizer and/or drum machine that Roland, for example, throws at us at the moment and has done so for years on end. I don’t think that that will push things forward or make a change at all.
What we need is a new 303, 808 or 909 that’ll change the music history just the way that those machines did back then, and i hope that that day will come.
00:00 – Ligovskoï – ’Elgon’ – DEMENT3D
05:10 – Ligovskoï – ’Aures’ – DEMENT3D
08:38 – Felix Krone – ’Teil II Die Illusion #3’ – Hidden Hawaii
13:07 – Peev – ’Medea’ – No Suit Records
19:03 – Ligovskoï – ’Aures (Peder Mannerfelt’s Power Mix)’ – DEMENT3D
22:02 – Felix Krone – ’Teil III – Das Geheimnis #1’ – Hidden Hawaii
24:44 – Conrad Schnitzler & Pole – ’Drachenbäume Sind Friedliche Wesen’ – Bureau B
31:02 – Rotkeller – ’Malz’ – Thrènes
35:56 – Ligovskoï – ’Cross (HBT Remix)’ – DEMENT3D
38:53 – Shaded Explorer & Månljus – ’Tillbaka Till Mälaren’ – Shaded Explorations
42:57 – Roll The Dice – ’Potter Field’ – The New Black
44:13 – Brandon Moeller – ’Climbing Dub’ – Dock
49:48 – Cluster Lizard – ’Biomass Of Beauty’ – Le Cabanon (upcoming)
51:46 – Lars Fenin – ’Conflict Dub’ – Dock
56:52 – Rotkeller – ’SW’ – Thrènes
01:01:41 – Matter – ’Failures’ – Subsidence
01:06:33 – Peev –’ Inflict’ – No Suit Records
01:12:58 – Cluster Lizard – ’Fractal Core’ – Le Cabanon (upcoming)
01:15:35 – Retina.it – ’Ecate Trigemina’ – Semantica
01:19:20 – ASC – ’Perihelion’ – Horo
01:23:43 – Roll The Dice – ’Cannonball’ – The New Black
01:26:49 – CA2+ – ’Hair Bundle Motor (Version)’ – Northern Electronics
01:33:29 – Rrose – ’Tounge Piece’ – Air Texture
01:37:16 – Andrea Taeggi – ’Logograms’ – SM-LL