Zolin Sagt 026: Lavender Worm – 16.05.2015

Podcast 026kl

Wer bei finnischer Musik nur an Metal in all seinen verschiedenen Formen denkt, dem entgehen zum Beispiel interessante Genres wie Skweee. Und da wir bei Finnland natürlich alle an metallische Musik denken, wissen die meisten tatsächlich nicht, was es mit Skweee auf sich hat. Aber nicht verzagen, Onkel Wikipedia hat selbstverständlich eine kleine Zusammenfassung:

Skweee ist ein aus Schweden und Finnland stammendes Genre der elektronischen Musik. Skweee vereint einfache Synth-Loops und Bass-Linien mit Funk, R&B oder Soul-ähnlichen Rhythmen. Die Songs sind meist instrumental.

Eine der momentan interessantesten Persönlichkeiten des Genres ist der aus Helsinki stammende Juhani Marjanen. Einerseits ist der selbsternannte Pfeifen-Connaisseur Mitglied der Skweee-Supergroup Yöt, andererseits hat er als Lavender Worm erst kürzlich eine grandiose Debüt EP veröffentlicht. Für Zolin hat er nun ein paar seiner persönlichen Favoriten sowie einige Tracks, die große Ähnlickeiten zur Skweee-Bewegung besitzen, zusammengestellt. Also durchhören und mit deinem Wissen über finnische Musik vor deinen Freunden angeben! Jackpot!

Where have you been hanging around lately?
In the backyard. Cleaning things up and worrying about the Parliamentary Elections.

Where and when was the mix recorded?
At home in Helsinki, late April, 2015.

Is there a special concept behind the mix?
A little. It’s mostly instrumental electronic music, but I wanted to make it as varied as possible. There’s music from five different decades. Finnish skweee, Belgian synth-pop, German metamusik, a track by a Cameroonian civil servant, and some „music for plants“ of course. Not many skweee tracks, but a lot of stuff that is similar in spirit I think.

You never published a mix before on your SoundCloud or Mixcloud accounts. Do you have any concerns, reservations or even prejudices towards the medium or your compiling and selecting skills itself?
Nothing wrong with mixes in general. I listen to them all the time. But I haven’t been involved in making them, because it would mean spending a lot of time looking for new music and having less time for making my own stuff. Also, deejaying is an art in itself I guess and I haven’t had much practice.

Could you name 3 headlines that characterize the mix?
Labor Day in Liberia. Molecular microwave meal. The afterlife of a pet canary.

In an article about you, published at VICE, you are called a “genius toddler”. Is it important for you to be somehow childish with melodies in your songs?
Yes. But it’s not very deliberate. It just seems to be the only way for me to write a melody without being somehow banal or contrived. I think the thing with skweee in general is its playfulness and lack of inhibition. To make music in a very adult way, like a sober professional, would definitely be going against the grain. On the other hand, I also dislike total sloppiness and tracks that sound like they’re only halfway there.
Anyway, speaking of genius toddlers, I think the article was referring to Antony Barkworth-Knight, who directed the great video for Pond!

You have recently released an excellent EP. Do you already have plans on a full length debut or at least another EP?
Thanks! Yes, I’m working on an album. Not sure when it will be released yet. I know the label though. Shout out to the business executives at Raha & Tunteet!

Mort Garson: Ode To An African Violet (Homewood Records 1976)
Francis Bebey: Super Jungle (Ozileka 1982)
Bruce Haack: Stand Up Lazarus (Stones Throw 1979/2010)
Japanese Telecom: Japanese Animation (Intuit-Solar 1999)
Koyote: Night Train (Mixpak 2011)
Fatima Yamaha: What’s A Girl To Do (D1 Recordings 2004)
Kaitlyn Aurelia Smith: Sundry (Western Vinyl 2014)
Clara Mondshine: Memorymetropolis (Innovative Communication 1983)
Pyloris: Comme Dub (Tiburoni 2014)
Lavender Worm: Lasagne Rhythm (demo)
Telex: Ave Fifi (LD Records 1989)

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