This interview with Tyko Saarikko of Tenhi features questions by Y.
Arkadin.
1. What
does the word Tenhi mean? I'm curious whether it translates to anything as my
ignorance of your language would not permit me to decipher it on my own.
Tenhi is
an old Finnish word meaning a shaman, although it is not used anymore, apart
from some old poems perhaps. It's deeply connected to our musical goal; making
music which takes the listener on a "shaman journey" through
different feelings and ensnares the listener for a long time.
2.
Tenhi seemed to almost have materialized from deep in a lake nowhere to be
found. I'm curious about the beginnings of the band, and how your present style
had developed. Can you speak a bit of its history?
History:
It all started in late 1996. I wanted to achieve a touch with the mystical side
of life through music, and at that time I wrote three songs dealing with the
past and myths of Finland and Tenhi evolved. In the beginning of 1997 I wanted
to record the songs for a demo tape. So, in early 1997, I asked Ilkka to join
in my project as a drummer (later he started to play other instruments as well
in this band). Together we recorded that demo tape "Kertomuksia",
which got a really good response in the underground and led the way for the
record deal for three full-length albums on Prophecy Productions. In spring
1998, Ilmari joined Tenhi and we recorded the mCD "Hallavedet". In
the autumn 1998 we entered the studio for the recording of "Kauan". Now
there are three permanent members in Tenhi, and two session musicians, Eleonora
and Veera, who play violin and flute in some songs.
Tyko
Saarikko: Vocals, Synth and guitar (didgeridoo, Jew's harp)
Ilkka Salminen: Vocals and guitar (drums on the releases so far)
Ilmari Issakainen: Grand piano, Guitar and percussions (drums in the future
releases)
If I
remember right, we never have had a discussion between us about how we should
sound. It came about naturally and found its place when Ilkka and I recorded
the first songs on the demo "Kertomuksia". Our musical taste has
remained the same but of course there are some differences between releases
mainly because of the sound. We aren't too happy with the
"Hallavedet" mCD. The sound is far too modern and clear for our
taste. It lacks the feeling and atmosphere we have on "Kertomuksia"
and "Kauan". Personally, I enjoy a lo-fi sound. We might even use my
old 4-tracker to record some instruments just to bring forth some good old
juicy and tasteful sounds.
3.
Prophecy Productions has attached the description of 'melancholic folkloric
rock' to your music. Although there are some 'rock' aspects, I feel this
categorization is patronizing and essentially incorrect. How do you feel about
this labeling? Do you believe that your music can appeal to a much wider audience
if there was less of a need to impart these categorical constraints?
Yes, I
agree with you. I don't believe that labelling is any nearer the truth than
something else, but I understand that it is a kind of must for record companies
to put their bands in some category. I believe that other people than just
metal people could find us interesting, in fact there has been a good response
in some progressive music magazines and loads of brilliant reviews in
dark/alternative magazines. Our music has elements from a variety of musical
styles but it is always dark and emotional music, to put it simply.
4.
Listening to the music of the band, I feel as though it presents an atmosphere
ideal for walks through nature, excursions through woods and similar such outdoors
activity. But perhaps the greatest attribute of Tenhi is the ability of the
listener to escape within himself, to discover new emotions - to travel
'within' oneself. Does Tenhi have any prescribed notion of what they would like
the listener to feel or visualize through their sound? Do you feel the
classification of 'escapism' properly encapsulates the intention?
As I
mentioned in the beginning, the "shaman-journey within oneself " is
one of the main themes in our music, but also the visualizing, creating
"sound-landscapes" as you mentioned. We try to create a little
silence in these hasty times. Yes, in a way our music fits the term escapism.
5. I'd
like to speak of the photography and artwork of the band, since it compliments
the music almost perfectly. Where was the photograph from Hallavedet taken? And
also the sublime cover of Kauan? Can you explain some of the details
surrounding these designs? Was there some kind of prototype you had in mind
that you were aiming to mimic or supersede, however distant?
Ilkka has
taken the Hallavedet-photo, so I can't tell for sure, but I believe it has been
taken in his summer cottage by a lake. Likewise the "Kauan" photo has
been taken near Ilmari's summer cottage. We have always done the cover by
ourselves since the days I made the covers of "Kertomuksia", it is a
tradition that we will continue in the future too. Every one of us is
interested in visual arts and is studying them also. I will probably use my
"minimalist" graphics on the next album's covers.
6. It's
not difficult to picture that nature plays a very important role not only as
artistic inspiration for Tenhi, but as a key component in your lives as well. Is
the lifestyle and geography of the area you live in conducive to your needs? Is
tranquility hard to find in Finland, or could it be, as a foolish person living
in America like myself is bound to think, that it is superabundant?
Nature is
here everywhere, even in cities, so finding tranquillity outdoors is not hard
to achieve. Nature is essential for me to find harmony and a place for
speculation and inner peace: it is a superior and higher "being" than
us.
Tyko in the midst of Finnish
nature...
7.
Concerning your latest release, "Kauan", how long did it take to
record the entire album (I lack the information since I only have the promo),
and, now that some time had passed since it's release, do you see the final
product as a satisfactory image of where the band is currently headed in their
style? Are you generally satisfied with the outcome?
When
recording "Kauan" we had a studio booked for about one month with
some leisure days of course. Sometime just one of us was recording his parts,
and there were some solos/parts recorded that the rest of the members hadn't
heard before the mixing. The long studio time provided us opportunity to
experiment with live echoes in a stony hall and some other "minor"
factors that made "Kauan" what it is. I am happy with the
"Kauan" like I have been all the time, but just recently when
listening to it I really fall in to spheres it creates. Only thing what bothers
me is the leaflet-art which didn't turn out the way we wanted. Anyway the
"Kauan" recording/mixing sessions are a huge contrast to
"Hallavedet," when we had recorded/mixed it in a hasty 12 hour
session it took some two to three hours when I was pissed off by the too fancy
sound on it.
8. I
see that "Kauan" is receiving quite a bit of praise from members of
the metal community. Is this something that you expected? How do you feel about
that reception and what is your view of metal today in general? Could Tenhi's
music be reasonably considered as a part of that community?
Yes, we
expected something like that, after all, the demo tape and mini-CD got a very
good response in the metal community earlier and our style hasn't changed much
since. I think that our music appeals to metal people because we deal with the
same kind of melancholy and have a slightly same kind of feel in our music -
similar to many metal bands, so it's no problem that most of our promotion
happens in the metal genre. I lack interest in the current metal scene. Only a
few bands have kept my interest. This new wave of "futuristic" metal
doesn't appeal to me at all. The music won't get futuristic by just adding
strange effects and space/industrial sounds to the distorted guitars.
9.
Concerning the lyrics, are there any specific authors and poets that had a
strong role in determining the current style? Are the lyrics an important
component of a musical entity's expression in your view? Are they ancillary?
As in our
music, when I write lyrics emotions are often comprehended as real
persons/personalities. I often try to "materialize" feelings and
moods like in old myths, which of course often is impossible. The lyrics are
very important for me and I use lyrics with every song, even if the song didn't
contain any singing. Sometimes the lyrics can just be one or two phrases or a
few spoken words. Our lyrics have many sentences, which can't be deciphered
into English, that's why we don't use direct translations, just altered stories
about the same theme. I am not too happy about the translations on
"Kauan". They tell everything essential of the topic of the song but
nothing more really, they are quite flat and lack the nuances of the original
Finnish ones.
10. Now
that some of your projects have become consummated, what do you foresee in the
future? Will there be any live performances, or some sort of touring taking
place? How would you picture the most ideal scenario for a show, were you to
take part in one?
Live
performances are quite impossible at the moment because we all play more than
one instrument in almost every song. We have talked about a live performance
and agreed that if we ever make one, we will play the songs slightly different,
in a more rhythmic way, we might even compose songs just to play live never to
be released on a record. An ideal place for us would of course be outdoors,
maybe by a lake. Loads of room where people could lie down and fall in to the
spheres or dance and perform some tribal acts. Well, strange as it is just now
making this interview I got a phone call, that the Prophecy Productions could
arrange us a gig in Germany next summer, in some "folk music" event,
maybe we will try to work something out...
We have over 70 minutes of new material and we will record the new songs during
this spring and summer. If everything goes as planned we will release a second
full-length next autumn, but we will see what happens.
11.
Before I close the interview, I'd like to digress to a broader topic by asking
you, Tyko, what your view is on the increase of technology in our society
today. Do you feel that humanity is prepared for such rapid progress? Aldous
Huxley claimed that "Technological progress has merely provided us with
more efficient means for going backwards." Can this progress be
self-destructive when the greater mass of humans may not even be prepared for
such change? What is your view? Thank you for your time and effort.
Although I
am not a religious person it makes me puke to see people getting so
materialized and forgetting all else. Consumption and technology has become
this century's religion. Nothing good about that.