© PR

»How comforting, after so much menial self-investigation, to finally be told exactly what it is that you need. The delirious British post-punk outfit The Fall, in their song on the very subject, will have you convinced it’s a bit of Iggy Stooge, a reduced smoking habit, sex without having it, slippery shoes for your horrible feet; to that solid list, I’ll append an injunction to hear out a few minutes of other music, specifically chosen to corrupt your personal spacetime. And sure, drink water, wash your face, go outside – like that’s doing anything.« 

Jennifer Gersten is a violinist and writer from New York City. Her feature reporting, essays, and music criticism appear in The New York Times, The New Yorker, Bloomberg, Rolling Stone and Seismograf, among other publications. A former tenured tutti violinist with Helsingborg Symfoniorkester (Sweden), Jennifer pursues solo and collaborative projects in new and improvised music in the US and Scandinavia, some of which earned her an honorable mention for Darmstadt Ferienkurse’s 2023 Kranichsteiner Musikpreis. 

in briefrelease
23.01.2022

Finnish Space Travel

Tomutonttu: »Hoshi«
© Tomutonttu: »Hoshi«
© Tomutonttu: »Hoshi«

The Finnish multimedia artist Jan Anderzén has, with the album Hoshi, released under the solo moniker Tomutonttu, created a true little star. Not only because »hoshi« literally means »star« in Japanese, but above all due to the music itself. There is something cosmic, yet infinitely minute, about the sonic worlds Anderzén conjures—like a galaxy reflected in a puddle, or a space journey in a rocket carved from a hollow tree trunk. Synths emit busy, warm blips and bloops, while ultra-short vocal and instrumental samples create a recognizable blur. At once artificial and organic – soft, rounded, jagged, crackling.

Anderzén approaches sound with a playfulness I simply adore. His music is strange in an incredibly comforting way. It places me in a kind of colorful, trance-like state, only interrupted when, several times over the course of the album, I find myself smiling in delight at a particularly great sound. The synths on »Katse osuu sähköön!« The choral samples on »Kesä oli äkkiä ohi!« Milo Linnovaara’s flute on »Malta lausua ‘AH’!« And many more. Hoshi is an album packed with microscopic moments that together form a frayed, exploding, radiant, idiosyncratic whole—a stellar moment of just under 38 minutes.