Tag: Jori Hulkkonen (Page 6 of 7)

SIN COS TAN Afterlife

28 October 2013 /


Less than a year after their eponymous debut, SIN COS TAN are back with another quality collection of emotive songs reflecting further broken dreams but in a slightly lighter setting where there are “spirits awoken”.

With a surplus of material from those first sessions, Juho Paalosmaa and Jori Hulkkonen have capitalised on the momentum of their working chemistry in the studio by recording a swift follow-up. Entitled ‘Afterlife’, this second volume expands the instrumental palette and this is signified by the album’s opening gambit ‘Limbo’.

With its conventional bass guitar mantra, prominent ivories and staccato organ lines, it has the air of Bryan Ferry who coincidentally had a song with the same name. But despite the musical shift, as ever with Hulkkonen’s work, he can’t help slipping a classic PET SHOP BOYS styled middle eight into proceedings. Meanwhile, Paalosmaa is a little more relaxed than before, resulting in their most defined pop statement yet.

Although initially a more of a classic synthpop pairing with Paalosmaa handling the majority of the lyrical chores and Hulkkonen focussing on production, ‘Afterlife’ sees the duo combine their roles in a more collaborative fashion with a much looser feel than its predecessor. The opening third is delightful with ‘Part Of Me’ being a natural progression of sunnier tunes such as ‘Calendar’ from the SIN COS TAN debut while ‘Ritual’ gives an interesting Nordic interpretation on how to use a Latin shuffle while dressing the structure with pretty but understated melodies that recall CHINA CRISIS.

Despite this being a less nocturnal offering, darkness does have its place on ‘Afterlife’ and the middle section adopts a much sombre shade. The sparse ‘Heat’ premieres this darker side but it doesn’t go the full hog until ‘Destroyer’ which amusingly appears to have borrowed its verse vocal topline from JUSTIN TIMBERLAKE’s ‘Sexy Back’ or LADYHAWKE’s ‘Professional Suicide’, depending on your mindset! ‘Fair Rewards’ continues this maturer pace while ‘Heart On A Plate’ adopts a beatier groove.

The next trio of numbers however spring the album back to life. Hulkkonen first found fame as part of TIGA & ZYNTHERIUS back in 2001 at the height of the Electroclash movement; partly recalling that era, ‘Avant Garde’features Casey Spooner from the scene’s flag bearers FISCHERSPOONER. One of the album’s key tracks, it’s a moment which Paalosmaa described as “a very cool honour”. ‘Avant Garde’ itself though is not club oriented at all though, much more like THE CURE being produced by PET SHOP BOYS with Spooner providing a suitably cynical snarl to contrast Paalosmaa’s lost boy cry.

Meanwhile, the wondrous ‘Television’ intros with some Hooky six string bass and jumps into a danceable number that wouldn’t sound of place on NEW ORDER’s ‘Technique’ with CHIC-styled rhythm guitars syncopated against Moroder-esque sequencers. The following ‘Moonstruck’ ends this marvellous trilogy with a gorgeous ballad in the Tennant/Lowe tradition, smothered in synthetic strings while driven by a steady drum machine.

To close ‘Afterlife’, there is the building drone drama of ‘Burning Man’, probably the starkest thing Paalosmaa and Hulkkonen have attempted together so far. It would be fair to say that while there isn’t a track like ‘Trust’ on the album, ‘Afterlife’ is a colourful but no less impassioned body of work.

Paalosmaa still sounds emblazoned in sorrow but the adoption of more live instruments adds some brightness to the SIN COS TAN sound. While the spectre of PET SHOP BOYS looms, CHINA CRISIS and post-Roxy BRYAN FERRY are pointers to this more organic but still synth-friendly record.

Special thanks to Tom Riski of Solina Records

‘Afterlife’ is released by Solina Records in Europe and Sugarcane Records for the rest of the world on CD, vinyl and download with a street date of 22nd November 2013 for the UK

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Text by Chi Ming Lai
28th October 2013

SIN COS TAN Interview

22 January 2013 /

One of the best albums of 2012 has been the eponymous debut by SIN COS TAN, “a synthesized duo of great promise, broken dreams, and long nights”.

This brooding, electronic meisterwerk is the creation of Juho Paalosmaa and Jori Hulkkonen, both highly regarded figures within the Finnish music scene. Paalosmaa is the singer and songwriter from VILLA NAH who released the crystalline genius of ‘Origin’, one of the best synthpop albums of 2010.

They consolidated that success by supporting OMD that same year. Hulkkonen meanwhile is the highly regarded producer who released his first album ‘Selkäsaari Tracks’ in 1996. He came to the world’s wider attention though as ZYNTHERIUS with TIGA on their 2001 electroclash cover of COREY HART’s ‘Sunglasses At Night’ which was a UK Top30 hit.

He has since also worked with JOHN FOXX and PET SHOP BOYS as well as remixing THE PRESETS, CLIENT and best of all, the late BILLY MACKENZIE on his cover of RANDY NEWMAN’s ‘Boltimore’. His PROCESSORY project with the reclusive vocalist Jerry Valuri delivered an album ‘Change Is Gradual’ in 2011 which was an ambitious Sci-Fi concept album about seeking new life and new civilisations.

SIN COS TAN’s debut is more straightforward, developing on the pop instincts of both Paalosmaa and Hulkkonen but adding an organic edge to the electronic framework. With a rich filmic quality permeating amongst all the synths and drum machines, the album is possibly varied than either has attempted previously. However, ‘Sin Cos Tan’ still maintains a continuity that is both immediate and thoughtful. With songs such as ‘Trust’, ‘In Binary’ and ‘Book Of Love’, it is a contemporary electronic soundtrack which is ideal for that drive home on a rainy night…

Functionally, SIN COS TAN are a classic synth duo; Paalosmaa is intense and committed while Hulkkonen is more laid back and unassuming. Their contrasts compliment each other perfectly. Following their impressive debut UK performance at Nordic music night ‘Ja Ja Ja’ and with a new single ‘Bittersweet’ on the way, Juho Paalosmaa and Jori Hulkkonen kindly talked to ELECTRICITYCLUB.CO.UK about their album’s trigonometrical solutions…

How was SIN COS TAN conceived?

Juho: Me and Jori wanted to try and work on something new together, as we’d previously co-operated on each other’s own projects. We soon discovered that recording material together was very effortless – in just a few days we squeezed out 15-20 tracks.

Jori: Yeah, basically the idea was first just to try to write music together and see how it works; “is there chemistry in the studio” and “are the results something that’s more than the sum of its parts?” I was quite surprised how effortlessly the whole thing came together.

The project appears perhaps darker than VILLA NAH and more dance influenced than PROCESSORY. In your opinion, what are the differences?

Juho: VILLA NAH’s sound is somewhat an ode to the music of my childhood, hence the naivety and nostalgia that surrounds it. SIN COS TAN is sonically more modern and mature, so perhaps that explains the darker texture. I’d say SIN COS TAN is more emphasised on straightforward pop than PROCESSORY, but Jori is a better judge on that…

Jori: …with PROCESSORY, we wanted to experiment with the pop formula very intentionally, and although a lot of the songs were quite poppy, the arrangements were not, which made it maybe not so accessible; but in a way that was the whole idea of that record. With SIN COS TAN, we really wanted to focus on strong songs, and have a production and arrangement that supports the song, rather than distracting from it. And as opposed to VILLA NAH, I guess the keyword is “mature”.

How is the dynamic between you both in SIN COS TAN compared with the other occasions you’ve worked together?

Juho: With VILLA NAH, I’ve been solely responsible for the songwriting, so I knew that would be different with SIN COS TAN. With Jori, we both bring our ideas to the table and let them mix together…for me, that is the key ingredient of SIN COS TAN.

Jori: Yeah exactly. We had an idea what we might sound like, but when we actually got in the studio and started writing songs from scratch, that was the most rewarding thing for the whole process, as the end result took a slightly surprising direction; there’s a bit of R’n’B influence and it’s quite soulful at times.

Saxophones and guitars feature on several songs…was this willingness to use some conventional instrumentation a key part of your sonic exploration?

Juho: I try not to put any rules on instrumentations – I find that very limiting. So I’m not a synth purist, nor any purist, for that matter. My philosophy in music is simple: if it sounds good, just use it.

Jori: A lot of my favourite pop records are not limited to strictly electronics, and when I put my producer hat on, I’m always interested in expanding the sonic palette. I like the tension a tight drum machine and organic guitar can have. I love the idea of programming and creating the basic groove, but then colouring it with a bit more organic touch; on a lot my productions there are acoustic percussions, and little things played live and left a bit loose, just to add a bit of extra spice.

What about the types of synth textures you wanted?

Juho: Jori probably has a more detailed answer…I think we generally wanted SIN COS TAN to be sonically very clear and clean – stripped of any excessive production, relying more on the dynamic between just the vocals and the bass.

Jori: Again, it wasn’t really that planned. When we were writing songs, it soon became clear that we wanted to keep the production kind of minimal and leave space for the vocals to breathe. I think one of the strengths of the album is that the soundscape is also very honest; we didn’t go after any specific direction but worked on each song on its own terms, rather than trying to make the song fit a certain formula we might’ve wanted to have. It was only afterwards when we started going through the songs we’d done, we kind of noticed a certain “sound” emerging, and then tried to tie the album together by picking the songs that fitted together.

‘Book Of Love’ is a pleasant surprise with its sub-R’n’B beat template?

Juho: That’s very much Jori’s input. I found it a refreshing angle when compared to anything I’ve done before…vocally, it opens a completely different approach as well.

Jori: One of the key elements that came with co-writing was that I could point Juho towards certain directions as a vocalist he might not have tried himself; ‘Book Of Love’ is a prime example of that. I think it also is a great example of that “maturity” we mentioned earlier.

I understand ‘Trust’ started off more downtempo…how did it evolve into the final track?

Juho: ‘Trust’ was actually initially a demo track that I’d played around with my Yamaha organ; it was a bit more uptempo then. But as we took it to Jori’s studio, it transformed into a moody downtempo piece. Afterwards Jori offered a more uptempo mix, which we both agreed upon.

Jori: Yeah, the original version we recorded was very moody, in a way reminiscent of VILLA NAH’s ‘Emerald Hills’, but at the back of my head I felt it might need a different approach. So after trying a few things, it ended up being my favourite style of music: Disco You Can Cry To.

The extended live version of ‘Trust’ is something very special, any plans to release that?

Juho: So far no plans. But anything’s possible, of course…


How are you finding taking SIN COS TAN out live?

Juho: It’s fun and relatively smooth; Jori devised us a rather ingenious set of equipment which we’re able to grab along across the globe fairly easily.

Our live shows also feature visuals, which is a great asset to the music – it brings out an entirely different side of the band.

Jori: For me, it’s quite exciting as I’ve never really played live in a band, and sharing the stage where someone else takes the limelight is quite refreshing. Also, my solo gigs have always been very much based on improvisation, something you can’t really do as a duo doing pop.

‘All I Ever Dream Of’ is quite a bizarre track as it starts with this offbeat before building to a percussive crescendo?

Juho: It’s probably my favourite on the album, it has a nice off-kilter menace to it. I’m quite pleased with the lyrics and vocals on it too. The song actually came about extremely quickly – I think Jori can share how he came up with that tasty rhythm…

Jori: …it’s a very cool track; great example of our co-writing where I had this idea of the relentless rhythm and bassline, and Juho came up with this quite menacing tone to his voice which is a great combo. There’s many ways to approaching writing a song, sometimes interesting ideas come from programming a simple rhythm that has a character of its own and the song just manifests itself. It’s the closest to magic that I know of.

What is ‘History’ about?

Juho: ‘History’ was one of my initial home demos which we recorded for SIN COS TAN. Lyrically I think it deals with discommunication, resignation and the eternal repetition of the former two. Who says I’m not an optimist?

Although there is this melancholy running throughout the album, ‘Calendar’ is quite up, almost euphoric?

Juho: Yes ‘Calendar’ has the most summery vibe on the album. Like a ray of sunshine on a cold winter day…

Jori: …I had a basic idea for a track with that bassline and chord progression which felt very, very poppy and I sent it to Juho who loved it. We felt it was our summer hit.

What is your favourite song on the album?

Juho: As mentioned earlier; ‘All I Ever Dream Of’.

Jori: Tough, but I’d have say ‘Not Over’. If a future me had gone back in time one year from today and played me the song before we even started working on anything, and told me what Juho and I would sound like, I probably wouldn’t have believed him/me. That’s the beauty of this collaboration, it’s a bit unexpected.

What are your future plans, with regards both SIN COS TAN and your own projects?

Juho: More stuff with SIN COS TAN – we have plenty of ideas and tracks to work on from just our previous sessions alone. I’m also working on more VILLA NAH, whenever possible.

Jori: SIN COS TAN is definitely the priority as it has so many facets to the whole thing; more studio work, videos, touring. Apart from SIN COS TAN, I’m putting together some stuff both on solo fronts and collaborations.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to SIN COS TAN

Special thanks to Tom Riski at Solina Records

‘Sin Cos Tan’ is released on CD, vinyl and download by Solina Records in Europe and Sugarcane Records for the rest of the world.

Their cover of ‘My Blue Heaven’, a song from the 1929 musical film ‘Glorifying The American Girl’ not included on the album, is available as a free download

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http://www.facebook.com/pages/villa-nah/8854069998

http://solinarecords.com/

Text and Interview by Chi Ming Lai
22nd January 2013

Ja Ja Ja featuring MØ , SIN COS TAN + HIGHASAKITE

5 December 2012 /

London based Nordic website and music night ‘Ja Ja Ja’ celebrated its third birthday at The Lexington in Islington with the first live performance outside Finland of SIN COS TAN, the acclaimed duo who released their self-titled debut recently to great acclaim. In short, it is one of the best albums of 2012.

Headlining the event was Danish post-R’n’B songstress MØ, plus there was additional support from Norway’s HIGHASAKITE. Showcasing the best emerging talents from Sweden, Denmark, Norway, Iceland and Finland, ‘Ja Ja Ja’ has become an established cultural beacon for the Nordic region and in a totally packed out venue, the beautiful and the bearded mingled alongside musical figures from different generations. The legendary Rusty Egan could be also spotted chatting with up-and-coming electro chanteuse Karin Park.

The evening began with indie popsters HIGHASAKITE, notable for their use of zither in their textural soundboard by vocalist Ingrid Helene Havik. While veering more on the organic spectrum, they have that common thread with many Scandinavian acts of chilly melancholy and a knack for melody plus that dash of Arctic Circle oddness.

SIN COS TAN bring the Finnish weather with them and are dressed appropriately for the conditions. Despite being a new act by definition, the pair are actually experienced hands. On the left is Jori Hulkkonen, the ace music producer who has collaborated with John Foxx  but found Top30 fame as part of TIGA & ZYNHTHERIUS with an electroclash cover of ‘Sunglasses At Night’.

On the right meanwhile is Juho Paalosmaa, lead vocalist with VILLA NAH who supported OMD and produced an album of superbly crystalline pop entitled ‘Origin’. It was ELECTRICITYCLUB.CO.UK’s favourite long player of 2010. Although Hulkkonen was VILLA NAH’s co-producer on ‘Origin’, SIN COS TAN are somewhat different with indie, lounge and R’n’B influences on the table alongside the usual synthpop and dance colours.

For the live showcase however, the audience gets a bias towards the latter, melodic hooks blending with the danceable drum machines and grainy string samples that are very much a Hulkkonen trademark. ‘Sooner Than Now’ acts as a funereal introduction before ‘Bittersweet’ opens out with more conventional instrumentation alongside the synths.

The tracks are segued using dialogue from cult British TV shows with the dulcet tones of Patrick McGoohan among the voices adding a schizophrenic mystery to proceedings. SIN COS TAN make an interesting pair; Paalosmaa – all very intense and committed, Hulkkonen – laid back and almost nonchalant. It’s a classic combination resulting in “a synthesized duo of great promise, broken dreams and long nights”.

A more classic synthpop template a la PET SHOP BOYS arrives appropriately enough with ‘History’, but the brilliantly off-kilter ‘All I Ever Dream Of’ throws people who are looking to dance slightly off the scent. However, the audience is rewarded with the neo-Balearic ‘Calendar’ and an extended workout of ‘Trust’. ‘Trust’ captures a bite that pushes forward the definition of retro-futurism like a 21st Century answer to ‘Enjoy The Silence’. Those who think there are no longer any new ideas in electronic music, please listen again…it’s time to rethink one’s trigonometric functions.

What SIN COS TAN perhaps lack in projection, they make up for in the strength of their songs and their sound. But then again, when you put one of the best producers and one of the best tunesmiths from the Finland station together in a room, this should not be entirely unexpected. The Nordic region is where it’s at with electronic music at the moment. Cold dark evenings and synthesizers…it’s a concoction made in heaven.

Concluding the evening, headliner MØ is impressive. Karen Marie Ørsted’s biography simply says: “The snow nation is eating your brain and your young heart – dark as the apocalypse. So just go perish in the snøw”! She defines her music as “Electronic Soul” and on hearing her live on the singles ‘Maiden’ and ‘Pilgrim’, she comes across like Lana Del Rey trapped in a frozen Fjord.

The resonant synthesized backing hops from hybrid dubstep to Phil Spector gone Sci-Fi while there are also elements of how Amy Winehouse would have sounded under Northern Lights. She uses the stage well to give a charismatically spirited performance which is kooky and profound but very immediate.

Scandinavia may be geographically cold and dark but ‘Ja Ja Ja’ provided a wonderful evening of ambassadorial warmth and intriguing music to savour. So here’s to its fourth year as an influential artistic platform and continuing this Nordic Affair.

With thanks to Debbie Ball at Create Spark

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Text by Chi Ming Lai
Photos by Richard Price
5th December 2012

SIN COS TAN Sin Cos Tan

24 November 2012 /

SIN COS TAN are Jori Hulkkonen and Juho Paalosmaa, two leading exponents of the Finnish electronic music scene.

Jori Hulkkonen is the seasoned production hand who in his various guises has worked with KRAFTWERK, PET SHOP BOYS, JOHN FOXX and TIGA among many. Juho Paalosmaa meanwhile is the vocalist and songwriter from VILLA NAH, the Helsinki duo who released one of the best albums of 2010 in ‘Origin’ and supported OMD on their UK tour that year. Hulkkonen was the co-producer of ‘Origin’ and his endorsement of VILLA NAH no doubt helped give them become a Top10 band in Finland.

Paalosmaa also sang on ‘Re: Last Year’, a track from Hulkkonen’s ‘Man From Earth’ solo record; so a further artistic union was a natural and inevitable progression. As previously showcased on his deep bootleg reworking of ‘Boltimoore’, Hulkkonen’s work has often been haunted by the ghost of Billy Mackenzie.

Paalosmaa, a singer schooled in the drama of DAVID BOWIE and the emotive melodicism of OMD, almost acts as Mackenzie’s present day spirit. While there are hints of ASSOCIATES in SIN COS TAN, they have their own identity seeded by VILLA NAH and PROCESSORY, Hulkkonen’s project with reclusive singer Jerry Valuri. Anyone who has enjoyed either will love SIN COS TAN.

SIN COS TAN’s manifesto is to be “a synthesized duo of great promise, broken dreams, and long nights”. The album starts with the almost funereal ‘Sooner Than Now’, its arpeggios reminiscent of JOHN FOXX & THE MATHS. The slightly off-key marimba and detuned synths make it an interesting if obscure start before the first SIN COS TAN track that went public, ‘In Binary’. This dark, atmospheric space ballad could have come off PROCESSORY’s ‘Change Is Gradual’ album although ironically, it started off as a solo Paalosmaa composition.

Acting as its next door neighbour, ‘Book Of Love’ shimmers with building bass drama and clicks along at a steady rimshot pace, attached to a light R’n’B shuffle. Much more frantic though is the tremendous ‘History’ which is set to a Klingklang percussive structure. Unrestrained, Paalosmaa makes a last ditched appeal to a departing lover with a cry of “you can be my history”. Its imperial PET SHOP BOYS styled middle eight even comes with the Emulator chipmunk voice sample.

Despite the sombre tones of ROBERT GÖRL’s ‘Mit Dir’ resonating in its intro, ‘Calendar’ is almost Balearic. But true to form with Hulkkonen’s intelligent disco manoeuvres, the beats are complimentary and never overbearing… he understands that feel is more important than power.

Continuing the clubland excursions, ‘Played Out’ goes full-on New York electro with distorted robot voice samples alongside Paalosmaa’s dulcet tones. It’s a bit ‘Paninaro’ in its Bassline programming. Off-kilter rhythms drive ‘All I Ever Dream Of’ where Paalosmaa hits falsetto and heavier overtones within the same song before the track heads for a creepy percussive breakdown.

Another of the album’s highlights is ‘After All’ the dynamic 16 step sequence and syncopated measures are complimented by layering strings and electronic oboe. Both are grainy enough to recall classic NEW ORDER while the song itself lifts into another headspace. Factory’s finest were known for thumping dance tracks and guitar driven numbers so with the latter template in mind, ‘Bittersweet’ is enjoyable indie rock and with a spirited turn of energy. It brightly refines THE SMITHS gone electro template of Hulkkonen’s first collaboration with Jerry Valuri ‘Lo-Fiction’.

The marvellous ‘Not Over’ goes on record as the SIN COS TAN’s first proper co-write. Like a smooth electro take on ‘Flesh & Blood’ era ROXY MUSIC but fronted by Thom Yorke, it even includes a sax solo to complete the circle of cool! As the focal point of the album’s genesis, it was unleashed on a 12 inch white label with ‘Sooner Than Now’.

This great album concludes with the superb ‘Trust’, its sweeping drifts, spy drama shivers and introspective reflections providing the most perfect avant pop. Like DEPECHE MODE’s ‘Enjoy The Silence’, Paalosmaa’s demo version was downtempo but Hulkonnen has pushed it into more rhythmic dance territory. As a result, it has become SIN COS TAN’s calling card and is one of the songs of 2012.

Under the additional subtle influence of MASSIVE ATTACK’s smokey vibes and the trippy dance textures of UNDERWORLD’s ‘Dubnobasswithmyheadman’, SIN COS TAN’s debut album impresses with a rich filmic quality permeating amongst all the synths and drum machines. As a whole, there is enough variation while still maintaining a theme and a sound that is both immediate and thoughtful .

A great collection of songs to bridge the gap before hopefully another VILLA NAH album and whatever hat Jori Hulkkonen decides to wear next, those disappointed with PET SHOP BOYS ‘Elysium’ may find what they desire in these fractured Nordic soundscapes.

‘Sin Cos Tan’ is released on CD, vinyl and download by Solina Records in Europe and Sugarcane Records for the rest of the world at https://sugars.bandcamp.com/album/sin-cos-tan

Jori Hulkkonen and Juho Paalosmaa discussed the album and its influences in a SIN COS TAN special recorded for Basso Radio on 19th November 2012

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Text by Chi Ming Lai
Photos by Lauri Hannus
24th November 2012

Introducing SIN COS TAN

20 August 2012 /


SIN COS TAN is the new mathematically charged project of ace producer Jori Hulkkonen and VILLA NAH’s Juho Paalosmaa.

Having worked together previously on VILLA NAH’s superb debut album ‘Origin’ and on the track ‘Re: Last Year’ from Hulkkonen’s own ‘Man From Earth’ solo record, a further artistic union was almost inevitable. The duo made their live debut at Helsinki’s Flow Festival this summer.

Their first offering ‘In Binary’ will not be a complete surprise to anyone who has loved either VILLA NAH or PROCESSORY, Hulkkonen’s project with Jerry Valuri. With a stylish video by Pyry Lepistö, Juho Norokytö, and Matti Ranki, the track is an atmospheric amalgam of the two although probably biased more towards the futurist space ballads of the latter’s ‘Change Is Gradual’ album.

The superbly pulsating ‘Trust’ though is perhaps more VILLA NAH, and showcases the pair’s manifesto to be “a synthesized duo of great promise, broken dreams, and long nights”.

Add in sweeping drifts, sharp widescreen cimbalom, danceable but subtle beats and emotive vocals tinged with sadness from Paalosmaa, what more could you want? Haunted by the ghost of the late Billy MacKenzie, ‘Trust’ could possibly be the song of 2012…

So while VILLA NAH take a sabbatical and Hulkkonen wears yet another hat (other monikers have included ZYNTHERIUS, ACID SYMPHONY ORCHESTRA, KEBACID, DRUMMAN, STOP MODERNISTS and THE TANIA & JORI CONTINENTS!), SIN COS TAN are finishing an album for forthcoming release.

A 12 inch white label featuring the songs ‘Not Over’ and ‘Sooner Than Now’ has been issued as a limited edition of 300 and is available from Stupido Records

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Text by Chi Ming Lai
20th August 2012

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