Like an emissary of the Fly agarics that morphed into Santa in northern lore, Olli Aarni’s music sounds like the thoughts of psilocybic rhizomes modelled in sound on his debut with Students of Decay (Anne Guthrie, Duane Pitre, Sarah Davachi)
Offering himself up as a fleshy vessel for nature’s psychedelic voice, Aarni follows beguiling works with Active Listeners Club and Superpang with an in-depth exploration of otherworldly ether zones that could be compared to the amorphous ambient electronica of special guest dj or the most illusive, fractal aspects of claire rousay, or even Jim O’Rourke at his dreamiest on the other hand, but both with a fairy tale enchanted seduction of his own.
The two works contrast smartly between the immersive, natural ecological quality of his insectoid rhythms and juxtapositions between crystalline textures and processed vocoder tones in the busy but not hurried ‘Ylhäällä’ and the slower, sleepier microtonal drone of ‘Alhaalla’. Both sides feel like night and day in the same parallel dimension, with networks of insects and flora cooperating to keep the planet and imaginations alive during the first, while the second necessarily gives room to dream and soothe.
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Like an emissary of the Fly agarics that morphed into Santa in northern lore, Olli Aarni’s music sounds like the thoughts of psilocybic rhizomes modelled in sound on his debut with Students of Decay (Anne Guthrie, Duane Pitre, Sarah Davachi)
Offering himself up as a fleshy vessel for nature’s psychedelic voice, Aarni follows beguiling works with Active Listeners Club and Superpang with an in-depth exploration of otherworldly ether zones that could be compared to the amorphous ambient electronica of special guest dj or the most illusive, fractal aspects of claire rousay, or even Jim O’Rourke at his dreamiest on the other hand, but both with a fairy tale enchanted seduction of his own.
The two works contrast smartly between the immersive, natural ecological quality of his insectoid rhythms and juxtapositions between crystalline textures and processed vocoder tones in the busy but not hurried ‘Ylhäällä’ and the slower, sleepier microtonal drone of ‘Alhaalla’. Both sides feel like night and day in the same parallel dimension, with networks of insects and flora cooperating to keep the planet and imaginations alive during the first, while the second necessarily gives room to dream and soothe.
Like an emissary of the Fly agarics that morphed into Santa in northern lore, Olli Aarni’s music sounds like the thoughts of psilocybic rhizomes modelled in sound on his debut with Students of Decay (Anne Guthrie, Duane Pitre, Sarah Davachi)
Offering himself up as a fleshy vessel for nature’s psychedelic voice, Aarni follows beguiling works with Active Listeners Club and Superpang with an in-depth exploration of otherworldly ether zones that could be compared to the amorphous ambient electronica of special guest dj or the most illusive, fractal aspects of claire rousay, or even Jim O’Rourke at his dreamiest on the other hand, but both with a fairy tale enchanted seduction of his own.
The two works contrast smartly between the immersive, natural ecological quality of his insectoid rhythms and juxtapositions between crystalline textures and processed vocoder tones in the busy but not hurried ‘Ylhäällä’ and the slower, sleepier microtonal drone of ‘Alhaalla’. Both sides feel like night and day in the same parallel dimension, with networks of insects and flora cooperating to keep the planet and imaginations alive during the first, while the second necessarily gives room to dream and soothe.
Like an emissary of the Fly agarics that morphed into Santa in northern lore, Olli Aarni’s music sounds like the thoughts of psilocybic rhizomes modelled in sound on his debut with Students of Decay (Anne Guthrie, Duane Pitre, Sarah Davachi)
Offering himself up as a fleshy vessel for nature’s psychedelic voice, Aarni follows beguiling works with Active Listeners Club and Superpang with an in-depth exploration of otherworldly ether zones that could be compared to the amorphous ambient electronica of special guest dj or the most illusive, fractal aspects of claire rousay, or even Jim O’Rourke at his dreamiest on the other hand, but both with a fairy tale enchanted seduction of his own.
The two works contrast smartly between the immersive, natural ecological quality of his insectoid rhythms and juxtapositions between crystalline textures and processed vocoder tones in the busy but not hurried ‘Ylhäällä’ and the slower, sleepier microtonal drone of ‘Alhaalla’. Both sides feel like night and day in the same parallel dimension, with networks of insects and flora cooperating to keep the planet and imaginations alive during the first, while the second necessarily gives room to dream and soothe.
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Like an emissary of the Fly agarics that morphed into Santa in northern lore, Olli Aarni’s music sounds like the thoughts of psilocybic rhizomes modelled in sound on his debut with Students of Decay (Anne Guthrie, Duane Pitre, Sarah Davachi)
Offering himself up as a fleshy vessel for nature’s psychedelic voice, Aarni follows beguiling works with Active Listeners Club and Superpang with an in-depth exploration of otherworldly ether zones that could be compared to the amorphous ambient electronica of special guest dj or the most illusive, fractal aspects of claire rousay, or even Jim O’Rourke at his dreamiest on the other hand, but both with a fairy tale enchanted seduction of his own.
The two works contrast smartly between the immersive, natural ecological quality of his insectoid rhythms and juxtapositions between crystalline textures and processed vocoder tones in the busy but not hurried ‘Ylhäällä’ and the slower, sleepier microtonal drone of ‘Alhaalla’. Both sides feel like night and day in the same parallel dimension, with networks of insects and flora cooperating to keep the planet and imaginations alive during the first, while the second necessarily gives room to dream and soothe.