The first of five-EP's in a series finds Sasu Ripatti splitting his usual rattling dub constructions into their component parts, touching on the advanced minimalism of early albums like 'Anima' and reaching towards a new future.
Ripatti shows absolutely no signs of slamming on the breaks - this first installment was composed quickly in November, while the Finnish innovator was hiding in his studio from the world's troubles. He wanted to revisit some states of mind he had explored early in his career instead of pushing continuously outward, and it drew him back to his earliest mode of production, harking back to his 'Anima' phase.
Over three tracks, Ripatti pulls apart his soundset completely, stopping time and refusing to lock into the grid. Vaporous textures bounce across the spectrum, percussion rolling through in irregular bursts of electrical buzzing and dubbed-out soundscapes. 'Three-Room Problem' falls even deeper into the abyss, obscuring itself beneath looping industrial noise and timestretched detritus. Ripatti has been tweaking his sound obsessively since the early Chain Reaction days, but here he sounds as if he's taking a pause for breath, luxuriating in the moment.
Our fave Delay in a while.
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The first of five-EP's in a series finds Sasu Ripatti splitting his usual rattling dub constructions into their component parts, touching on the advanced minimalism of early albums like 'Anima' and reaching towards a new future.
Ripatti shows absolutely no signs of slamming on the breaks - this first installment was composed quickly in November, while the Finnish innovator was hiding in his studio from the world's troubles. He wanted to revisit some states of mind he had explored early in his career instead of pushing continuously outward, and it drew him back to his earliest mode of production, harking back to his 'Anima' phase.
Over three tracks, Ripatti pulls apart his soundset completely, stopping time and refusing to lock into the grid. Vaporous textures bounce across the spectrum, percussion rolling through in irregular bursts of electrical buzzing and dubbed-out soundscapes. 'Three-Room Problem' falls even deeper into the abyss, obscuring itself beneath looping industrial noise and timestretched detritus. Ripatti has been tweaking his sound obsessively since the early Chain Reaction days, but here he sounds as if he's taking a pause for breath, luxuriating in the moment.
Our fave Delay in a while.
The first of five-EP's in a series finds Sasu Ripatti splitting his usual rattling dub constructions into their component parts, touching on the advanced minimalism of early albums like 'Anima' and reaching towards a new future.
Ripatti shows absolutely no signs of slamming on the breaks - this first installment was composed quickly in November, while the Finnish innovator was hiding in his studio from the world's troubles. He wanted to revisit some states of mind he had explored early in his career instead of pushing continuously outward, and it drew him back to his earliest mode of production, harking back to his 'Anima' phase.
Over three tracks, Ripatti pulls apart his soundset completely, stopping time and refusing to lock into the grid. Vaporous textures bounce across the spectrum, percussion rolling through in irregular bursts of electrical buzzing and dubbed-out soundscapes. 'Three-Room Problem' falls even deeper into the abyss, obscuring itself beneath looping industrial noise and timestretched detritus. Ripatti has been tweaking his sound obsessively since the early Chain Reaction days, but here he sounds as if he's taking a pause for breath, luxuriating in the moment.
Our fave Delay in a while.
The first of five-EP's in a series finds Sasu Ripatti splitting his usual rattling dub constructions into their component parts, touching on the advanced minimalism of early albums like 'Anima' and reaching towards a new future.
Ripatti shows absolutely no signs of slamming on the breaks - this first installment was composed quickly in November, while the Finnish innovator was hiding in his studio from the world's troubles. He wanted to revisit some states of mind he had explored early in his career instead of pushing continuously outward, and it drew him back to his earliest mode of production, harking back to his 'Anima' phase.
Over three tracks, Ripatti pulls apart his soundset completely, stopping time and refusing to lock into the grid. Vaporous textures bounce across the spectrum, percussion rolling through in irregular bursts of electrical buzzing and dubbed-out soundscapes. 'Three-Room Problem' falls even deeper into the abyss, obscuring itself beneath looping industrial noise and timestretched detritus. Ripatti has been tweaking his sound obsessively since the early Chain Reaction days, but here he sounds as if he's taking a pause for breath, luxuriating in the moment.
Our fave Delay in a while.
Ltd. to 500 copies, 45rpm, includes a download dropped to your account. Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori. Mastering by Stephan Mathieu for Schwebung Mastering.
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The first of five-EP's in a series finds Sasu Ripatti splitting his usual rattling dub constructions into their component parts, touching on the advanced minimalism of early albums like 'Anima' and reaching towards a new future.
Ripatti shows absolutely no signs of slamming on the breaks - this first installment was composed quickly in November, while the Finnish innovator was hiding in his studio from the world's troubles. He wanted to revisit some states of mind he had explored early in his career instead of pushing continuously outward, and it drew him back to his earliest mode of production, harking back to his 'Anima' phase.
Over three tracks, Ripatti pulls apart his soundset completely, stopping time and refusing to lock into the grid. Vaporous textures bounce across the spectrum, percussion rolling through in irregular bursts of electrical buzzing and dubbed-out soundscapes. 'Three-Room Problem' falls even deeper into the abyss, obscuring itself beneath looping industrial noise and timestretched detritus. Ripatti has been tweaking his sound obsessively since the early Chain Reaction days, but here he sounds as if he's taking a pause for breath, luxuriating in the moment.
Our fave Delay in a while.