UTON |||||| Ummet ja Lammet (c50)
"Experimental electronic studies with psychedelic flavours. Connections to the cosmic currents and invisible beings from the other worlds and dimensions, our collective dimension included. Music to help listener to breathe through its energy centers (chakras), or even from the core of the existence. Sounds to travel in astral ways, and explore the unknown, eyes closed or open - works well with both ways.
Full length 50 minutes, on transparent violet cassette. Double side printed sleeves..edition of 55 copies."
KEIJO : Aina se soi (c40)
"How, and why to live with songs? A song can be born, when the sound-world which comes in to my mind, or that sound-world which comes near enough to be perceived in the mind, starts to accept and apply perceptions, formative perceptions, which can be grasped as phonems and phenomens, which are constructing words and meanings, are starting their dance on the layers of the text-world. Often it's enough with a few syllables or/and words, but as often the process goes on with larger and longer parts of rows and combinations, connecting these with complete sentences, and before you know, with a cohesive force you'll find yourself (or in these cases something from myself, too) in a stream, which can take you along somewhere you don't know. At this point the flow of words must be written down, or be stored in some other way, so that they can be memorised and repeated, when and where there comes a will and need for that. That is, if you want to keep the material to be recognized as a song, and not merely as any song but as the same song again. If the substance is sustainable, the song may solidify so that you can perform it almost in the same way. But if it gets an actual long persistence, it can never be presented, performed in the same way again, because it is the variability which ensures the preservation, and conservation, for the song. It slithers like water from place to place, and its quantitative density varies also in the previous proven areas of its appearances. The meanings of what is or will be said must be expressed in a touching way, when writing, and especially when performing, to the audience. The text and its musical structures must give solid support to that kind of submission, in the performance, for example, with an unabated, unremitting rhythm. Recordings and performances of a song which are given without other musicians and singers can provide you with only indicative perceptions of its potential, and the song can not actually exist, before the public receives it, when people detect it and give shapes to it in their mind. Therefore, as a result, the song can never be pre-written, or ready, as specified through its versions, because would it become so defined, it would become closed out of reach of the public, which means that it would abandon its own opportunities to become realized – and its spirit. (The sound, how the song can and does sound actually as a whole through its parts, belongs also among its purposes, but this aspect must be dealt with somewhere elsewhere, on another occasion. Here it is enough to add, and to remind from, that the possibility to put out these attempts, or takes, of the material which is not solid by its very nature, are tries with which to share at least dim echoes of some, and not fully accidental, with all these equipments available nowadays, situations in which it sometimes becomes possible to live, and wonderfully re-live the paradox of experiencing that kind of activity, which one never can manage to perform...). The question will remain there in the beginning. And not be replied. Luckily, there will be no beginning, but a starting-point. I can not explain, and for sure, the less can be understood when listening this tape, but I tried to open a gap into the surface; at least we might hear subdued echoes of how to knock."