(Clicka qua per la versione Italiana)
Pan Sonic (born Panasonic and originally a trio) is the project launched in
1993 in Finland by Mika Vainio (a veteran disc jockey who had already recorded
as Corporate 09) and Ilpo Vaisanen (an organizer of rave festivals), both
members of the artistic movement Ultra 3/ Sin O.
Their early records display the influence of
Pierre Henry's "musique concrete",
Morton Subotnick's dadaistic electronica,
analog synthesizers,
Suicide,
Kraftwerk,
Throbbing Gristle,
Einsturzende Neubauten,
all recycled and metamorphed in the context of micro-techno music.
The first EP, Panasonic (Sahko, 1994), was followed by the album
Vakio (Blast First, 1995), the manifesto of their abstract electronica.
Most of the album indulges in "arranging" samples of domestic noises and
studying the metamorphosis of elementary particles of sound, adopting both
minimalist repetition and ambient stasis.
After the most unlikely of overtures, namely the fastidiously high drone of Alku, Mika Vainio and Ilpo Vaisanen indulge first in the gently
looping glitch of Radiokemia
and then in the industrial metronomy of Vaihe.
The two are fused together in Urania, the looping glitch becoming
the industrial metronomy.
That's just the beginning of the parade of variations on such simple ideas.
Graf juxtaposes a pulsating rumble against a sustained whistle.
Tela blends a frantic tribal tremor and a distorted drone.
Reso turns something similar into a hail storm of electronics.
A proper "dance" rhythm does not appear until Hapatus with its
ping-pong beat.
The subliminal vibration of Kaasu and the elastic bouncing sounds of
Sahkotin close the album in a highly sophisticated manner.
Mika Vainio was also active with a minimal-techno project named after the symbol used in computer science for the digit zero, also known as
Ø.
The EP Kvantti (1993) boasts
Koopenhaminalainen Tulkinta for Caribbean rhythm and geiger counter
and the hissing and swinging
Radium, but the real highlight is the
oneiric Brian Eno-esque vignette Atomit.
The EP Eetteri (1993) contains more elaborate pieces such as
Sahkorausku, a collage of electronic noises and mutating beats set
against a rumble that could come from ship horns or a muezzin's call to prayer,
Eetteri, a lattice of shrill and timid sound effects,
and Hyonteis, a piece constructed out of colliding beat patterns.
The EP contains veiled references to the classic format of dancefloor fun,
for example the funky and distorted Teehetki and the sinister disco
shuffle of Helium.
The EP Roentgen (1993) features the more lively Tutka,
the pounding Roentgen, the energetic Medusa
and the dissonant carillon of Cesium, four pieces that are trivial
and straightforward by comparison with the other two EPs.
The three EPs are compiled on Tulkinta (Sahko, 1997).
Metri (Sahko, 1994 - Clone, 2005), the first full-length album by
Ø,
is a
more accessible works. Instead of stark, austere electronic compositions, Vainio
dares to serve surreal and exotic vignettes, much closer in spirit to
Brian Eno's Before And After Science.
Hence the atmospheric overture Sisaa,
the tribal African overtones of Kuvio,
the effervescent ballet of Muuntaja,
the (finally) bouncing Lasi.
The austere counterpart to these skits is represented by
the minimalist repetition of Twin Bleebs,
the requiem-like drone of Radio,
the robotic Hornitus,
and by the almost silent last three tracks (Kentta,
Halli,
Dayak).
Its follow-up, Olento (Sahko, 1996), contrasts the
anemic carillon of Oleva with the
industrial metronomes of Ohipumppu, the
icy minimalist repetition of Stratostaatti with the
pastoral and nocturnal atmosphere of Kaskaat.
the mechanical pattern of Mugwumb with the
the synth-pop riff of Throb-S,
the subliminal slow chill-room dance of the nine-minute Tila
with the barely hinted melody of Ilta.
One can sense two souls at work here, and pulling in two different directions.
Panasonic's EP Osasto (Blast First, 1996) is possibly the most abstract
enunciation of their art of turning Morton Subotnick into a robotic pulse,
or Suicide into a wild computer orgy.
The thundering Uranokemia, the frenzied and Brazilian Telako and
the syncopated stammering Parturi
are both frigid and hysterical, light and heavy, superficial and profound.
The booming, apocalyptic rush of Murto marks a peak of electronic
dance music.
Reduced to the duo of Vainio and Vaisanen, Panasonic then released
Kulma (Blast First, 1997), that further honed their sample-based craft
and their minimal techno. The music becomes even colder and darker than on
Olento and far more subdued than on Osasto.
The first pieces are misleading:
Teurastamo is a mini-concerto for electric shocks and multiple
metronomes that turns into a wild dance; and
Vapina is pure geometry of dance beats.
However, the other pieces tend to abandon rhythm as the driving force.
In Puhdistus and Kurnutus rhythm has deteriorated to an almost
self-mocking status, and the limping, monotonous
Rutina seems to reflect on Pansonic's inability to construct a
regular beat. Other pieces are merely atmospheric drones.
On the other hand, the syncopated Murto Neste seems to utter an
embryonic melody; and the ghastly "om" of Aines marks a zenith
of pathos thanks to its swirling drones that evoke cosmic silence and to the
pulsing heartbeat that signals life on the other side.
The "cosmic" theme is continued on -25, a feeble signal that leverages
bleak muttering voices.
Rhythm returns as a protagonist on the ten-minute closer, Moottori,
a tribal dance with African overtones drenched in a gritty buzz.
In the meantime, Vainio, soon to relocate to Barcelona (Spain),
was also creating sound installations around Europe.
Vaisanen and Vainio then recorded the single Medal and the album
Endless (Blast First, 1998) with their idol Alan Vega.
Mika Vainio's first solo, Onko (Touch, 1998), is an experiment within
the experiment: a concerto for noise and drones,
without the support of Panasonic's arctic beat,
that is as creative as abstract (Viher, Jos).
The album peaks with the ambitious poeme electronique Onko in eleven
movements.
While not always satisfactory, the experiment borders on musical folly when
they try to incorporate rockabilly, dub and ska.
Under the moniker of Philus, Vainio releases
Tetra (Sahko, 1997), recorded between 1995 and 1997.
The renamed Pan Sonic, equipped with a state-of-the-art array of
samplers and sequencers, returned with
A (Blast First, 1999), whose title is a tribute to the letter they had
to drop from their name.
The atmosphere is still little or no human, but the music is the apotheosis
of every technique that composers have created.
The shallow ambient scores of Maa and Havainto
(desert soundscapes roamed, the former, by digital beeps, echoes and scrapes,
and, the latter, by distant vibrations)
are balanced by the avantgarde noise of A-Kemia (a pulsation in the
void that slowly changes timbre),
Askel (the musical equivalent of a slowing heartbeat),
Rajatila and Aleneva (both mutating radio frequencies).
Etaisyys gets as close to Cage-an silence as possible and
Bits of Kratwerkian foxtrot (Lomittain) and techno twist (Telakoe)
are eventually fed to the dark, majestic swoon of Voima, nine minutes
of industrial beats and horror drones.
Several shorter pieces paint an apocalyptic picture of free-form noise,
low-flying unidentified objects and ephemeral dimensions.
Nobody can test his (paying) listener's patience like Pan Sonic do,
but, just like with haiku and epigrams, there is beauty in the monotonous
minimalism of this art.
With this album
Mika Vainio and Ilpo Vaisanen have composed a very poetic work, one that
injects feelings in the industrial, futuristic and gothic wasteland that
they have been roaming for years. Their super-fusion of
dub, illbient, jungle, techno, rock, soul and jazz is no longer a mere
nonsense, or a mere mathematical puzzle, it is also a grand view on a
magnificent land that lies still ahead.
Mika Vainio's Ydin (Wavetrap, 1999) marks a sudden deterioration of
the program. Instead of carefully assembling clockwork music, Vainio lets
tones grow and flow with the attitude of the spectator (rather than the actor)
until they come to resemble the white-noise juggernauts by
Zoviet France.
Vainio is in high demand and yields to a series of collaborations.
Unfortunately, they mostly highlight his limits
Rude Mechanic (Beaconsfield, 1999) documents a pretentious sound
installation.
Mort Aux Vaches (Staalplaat, 1999) belogs more to Charlemagne
Palestine than Vainio.
Like so many of avantgarde's mediocre composers, Vainio is now wasting his
time across too many projects, none of which stands up to his past standards.
His third solo, Kajo (Touch, 2000), plays into the hands of his critics:
the music is not only a futile repetition of his ideas, it is also a puerile
repetition. Aaltomuoto and Unessa display the usual icy elegance,
but not much else.
Aaltopiiri (Mute, 2001) collects
avantgarde pieces and brief (albeit no less sophisticated) vignettes of
Pan Sonic's aural minimalism.
The "music" is often subsonic and unfocused,
a stripped-down, faint soup of beats, scrapes, clicks, clangs and
(yes) silence.
It doesn't seem to
know where it is going. It simply toys a few seconds with an electronic effect,
then dumps it for another one. Every move is elegant and calibrated, but also
fragile.
The sparsed banging of Ensi, the warped melody of Kuu,
the razor-sharp distortion of Rasite
are inherently futile, ephemeral, decidous.
The digital is not the power, is the limit of Pan Sonic's pieces.
Alas,
Pan Sonic's art needs time to reveal its beauty, its amorphous beauty.
Tracks like Vaihtovirta, drenched in warped beats, rich with
insistent drilling and distorted drones,
are essays in pulse and timbre, performed in a dubby ether.
Pan Sonic's hypnotic quality and a midly exotic flavor come to the forefront
with the
quasi-tribal throbbing of Johdin that borrows from Steve Reich a
technique to gradually alter repetitive patterns.
No doubt these compositions find new meaning to a style originally invented by
Autechre.
The suspended semi-raga atmosphere of Liuos
shows some development, but
the cryptic and dilated drones of Ulottuvuus, or
the ominous tone of Hallapyydys, or the floating, cosmic patterns of
Reuna-Alue, or
the mantric "om" and casual clashing of Valli,
do little else than play themselves until they get bored.
The pounding industrial nightmares of Kone and Kierto, that would
be negligible on other albums, stick out like skyscrapers in a barren
landscape simply because finally something happens.
This is electronic music of ideas, but terribly little substance.
One wonders how difficult it is to play this kind of compositions when equipped
with the same expensive instrumentation. Britney Spears may be more authentic
a phenomenon than Pan Sonic.
This is electronic music for the thrill of it.
The word "self-indulgent" doesn't even come close to what this duo is.
Ilpo Vaisanen is active in the dub-jazz realm as Piiri with the
EPs Jarru (Mind, 1999) and Rajoitusalue (Traum, 2001)
and the remix album GPU (Vertical Form, 2002).
Ilpo Vaisanen's Asuma (Mego, 2001) is even more minimal.
Sounds float around with even less life and sink into pits of digital
echoes.
Wohltemperiert (Raster-Noton, 2001), mainly recorded in 1998,
is a collaboration between
Vainio (under the moniker Ø) and Carsten Nicolai (under the moniker Noto).
The Hymn Of The Seventh Illusion on the EP Motorlab #3 (Kitchen Motors, 2001) is a composition
by Barry Adamson and Pan Sonic for Iceland's Hljomeyki Choir. The music is austere and ghostly in the best
tradition of Gyorgy Ligeti and Arvo Part.
The album includes a remix done by Hafler Trio.
The Oval Recording (Mego, 2003), credited to IBM
(Ilpo, Bruce, Mika), is a collaboration
between Pansonic and Wire's Bruce Gilbert, producing much "dirtier" sounds
than the ones their are used to.
Invisible Architecture #2 (Audiosphere, 2002) contains a 34-minute
live collaboration between Mika Vainio and Christian Fennesz, and a 32-minute
solo by Vainio.
Mika Vainio' Sokeiden Maassa Yksisilmainen On Kuningas (Touch, 2003),
which means "In the Land of the Blind One-Eyed King",
relies too much on a combination of silence and drones to qualify as "music".
Vainio is often experimenting for the sake of experimenting, and this album
is a prime example of his self-indulgence.
V (Victo, 2003) is a live collaboration with Merzbow .
GRM Experience (Signature, 2004) was a collaboration among Christian Fennesz, Mika Vainio and Christian Zanesi.
Pan Sonic's Kesto (Mute, 2004) is a monumental four-cd box-set,
for a grand total of 234 minutes, that
stands as an ideal compendium of the project over the years. The first disc
harkens back to the exuberant and menacing industrial music of the late 1970s,
with psychotic distorted dance tracks such as
Mayhem I, Mayhem II and Mayhem III,
electronic threnodies such as the seven-minute Mutator and Gravity
(the dramatic peak of the disc),
horrific walls of noise such as Fugalforce,
dilapidated soundscapes such as the nine-minute Central Force (pierced
by a colossal distortion) and
Rafter.
This disc alone summarized and gave new meaning to three decades of "industrial"
experiments by
Throbbing Gristle,
Foetus and
Nine Inch Nails.
Last but not least, Diminisher was one of their most faithful imitations of Suicide's
fibrillating threnodies.
The second disc is also split between unbridled frenzy and subliminal
hypnosis.
Current-Transformer stands up to the "mayhems" of the first disc.
Cable 5 is another take on Suicide's neurosis (with a slightly Spanish inflection).
Distance is the psychological zenith of the work: a syncopated beat
that seems to be dropped in a disorienting labirynth of mirrors thanks to an
oneiric texture of metallic sounds.
Throbbing is the most "regular" of the dance tracks.
At the other end of the spectrum lie the desolate seven-minute
soundscape of Telemites and
the angst-filled noisy nightmare of the seven-minute Arctic.
The third disc is devoted to Vainio's celebrated "arctic" soundscapes, which is
basically a variation on musique concrete, as
the eleven-minute Sewageworld proves right away: the sound of
running water is filtered and manipulated, and so it the sound of it running
down the pipes, until all that is left is a flow of shapeless electronic
shadows.
The ten-minute
Corridor
unleashes electronic
drone after electronic drone in a crescendo of sound effects that leads to
a terrifying climax.
The quintessential "arctic" compositions,
Arches of Frost, the nine-minute Inexplicable and
the nine-minute Air,
rely on minimal sounds in slow motion to craft ghostly atmospheres emanating
a sense of silence and emptiness.
The 18-minute Lines is the logic continuation of the "arctic" program
within the aesthetic boundaries of electroacoustic chamber music: a concerto
for long tones.
The fourth disc is an hour-long tribute to droning minimalism: Radiation.
The floating drones create a sense of mystery and magic that is reminiscent of
Klaus Schulze's cosmic music. However, the
kind of drama pursued by Pan Sonic was of a different nature: not galactic
but very earthly, rooted in the neuroses of the post-industrial individual.
The sequence of the discs is relevant: it leads from organic (and
sometimes violent) structures (low entropy) to chaotic stasis (high entropy),
in what could be a metaphysical meditation on the meaning of life.
The sheer amount of studio techniques employed by the duo is awe-inspiring.
In a sense, this album is also a compendium of the civilization of 2004,
a representation of the contemporary zeitgeist, of the state of humanity.
This is not an album for people to listen to, but a message to be decoded by
future generations.
Resurrection River (Mego, 2005) is another VVV collaboration among
Alan Vega, Mika Vainio and Ilpo Vaisanen. The result is another mixed bag like
Endless. Vega's personality is so big that his younger cohorts downplay
their techniques of "noise terrorism".
A couple of tracks bring back the
Suicide magic, such as
11:52 pm (organ solo by Jimi Tenor)
and
Chrome Z-Fighters 2003, but mostly the psychotic attitude sounds only
half-hearted and outdated.
The soundscapes are a diligent repetition of past soundscapes on
Vainio's discs: nothing that a Vainio fan could not do at home.
Nine Suggestions (All Questions, 2006) was a collaboration with
avantgarde musician John Duncan,
a slow-burning furnace of of brutal, vital electronic noise.
Mika Vainio's side-project Ø returned with
Kantamoinen (Sahko, 2005),
that collects rarities from the 1990s, mostly sleepy electronic poems
from 1999-2004.
Pan Sonic's Katodivaihe Cathodephase (Blast First, 2007) was basically
a poor man's version of Kesto: same ideas, just a lot less ambition.
The real news for Mika Vainio's solo album Revitty (Wavetrap, 2007)
is represented by the moments of savagery, approaching the intensity of
digital hardcore. They populate the usual minimalist subliminal soundscape
creating a vital contrast. Vainio's music is more than even a study of
the transition from noise to sound to sign.
Angel is a collaboration between Ilpo Vaisanen of Pan Sonic and Dirk Dresselhaus of Schneider TM. After the ten digital etudes of Angel (BiP_HOp, 2002),
they added the cello of Hildur Guonadottir to produce
the romantic ambient droning glitchy industrial music of
the 70-minute piece of In Transmediale (Oral, 2006).
Initially the sleepy notes of the cello meet the manipulated sample of a
Middle-eastern chant, but it is just a warm-up. The disjointed and dissonant
cello solo restarts against a variable electronic distortion. Eventually
the two merge into just one ugly rumble. The duet gets more and more intense,
with the keyboards unleashing harsh electronic hisses and the cello emitting
grating whirrs. After an orgasmic peak, the music collapses into a skeletal
soundscapeand slowly dies away.
Hedonism (Editions Mego, 2008) collect ten more studies recorded between 1994 and 1997, mostly nervous and jarring, including the
20-minute Mirrorworld.
The four medium-length suites of Angel's Kalmukia (Editions Mego, 2008)
shifted the program of In Transmediale towards a more intimate and less
abstract discourse.
Bones In The Sand is a 13-minute sonata for languid psychedelic
distortions, certainly not what one would expect from Pan Sonic.
Kalmukia - The Discovery, Wiring, Invasion assembles drones that
initially sound mournful but soon become threatening and turn into ticking
strums.
An even bleaker tumor of drones, album standout
Effect Of Discovery, Test, Alarm, Catastrophy sounds like the soundtrack
to a descent into the dark recesses of the psyche.
Aftermath: The Mutation continues the progression towards stronger
emotions, this time via a chaotic collision of tones that sounds like
an orchestra preparing to rehearse.
The album is often self-indulgent, but confirms
Angel's ambitions as soundsculptors.
Ø's
Oleva (Sahko, 2008) was a bit too superficial in its treatment
of background and beats.
Vainio's Aineen Musta Puhelin / Black Telephone Of Matter (Touch, 2009)
is an album of (rhythm-less) subliminal musique concrete.
It was his Metal Machine Music.
Angel's 26000 (Editions Mego, 2011) sounds like two works in one:
the 13-minute Before The Rush is unusually harsh and gloomy,
thanks in part to BJ Nilsen's field recordings and digital processing,
whereas Hildur Gudnadottir's cello contributes again to turn
the 19-minute Paradigm Shift into a solemn existential meditation.
Pan Sonic and Keiji Haino collaborated on Synergy Between Mercy & Self-Annhiliation Overturned (Blast First Petite, 2010).
Pan Sonic announced its demise with Gravitoni (Blast First Petite, 2010),
one of their most aggressive works, and alas one of the most fragmented and
unfinished.
Vainio and horn player Lucio Capece collaborated on Trahnie (Mego, 2009).
The quartet of Mika Vainio, Kevin Drumm (both on electronics), Axel Dörner (trumpet and computer) and Lucio Capece (soprano sax, bass clarinet and shruti box) performed together on Venexia (may 2008).
Mika Vainio played even the guitar on
Life (Editions Mego, 2011), a minor work that harked back to
industrial rock music a` la Godflesh.
Vainio's Fe3O4 - Magnetite (Touch, 2012) was equally minor.
It abandoned the guitar noise of Life and returned to an isolationist
strategy. There are interesting moments, like the
industrial rumble emanating ghostly hisses in Elvis's TV Room and
the subsonic slow-motion electronic drones of Magnetia, but
Vainio doesn't seem to know how to capitalize on them.
The project Novi_Sad, namely BJ Nilsen, Daniel Menche, Francisco Lopez and Pan Sonic's Mika Vainio, debuted with the neurosciences-inspired Neuroplanets (2013).
Monstrance (Touch, 2013) documents a 2010 collaboration
with Joachim Nordwall.
Mika Vainio and Sunn)))'s Stephen O'Malley
formed AANIPA that debuted with
Through A Pre-Memory
(2013), featuring
Alan Dubin (vocals), Eyvind Kang (viola), Moriah Neils
(contrabass) and Maria Scherer Wilson (cello).
Pan Sonic's Oksastus (2013)
Hephaestus (Mego, 2014), recorded in december 2011,
was a collaboration with celloist Arne Deforce.
Mika Vainio died in 2017 at the age of 53.