Interview
(Progressive Newsletter Nr.46 10/03)
excerpts from an interview with Jarno Sarkula (Saxophon, Clarinet)
Years ago cellist Marko Manninen and I were playing at Helsinki subway for quick cash. We were unemployed and this was a very good source of our daily income. We played our own "medievalish" compositions wth me on the flute and Marko with cello, right in front of audience in the subway cars!. The environment inspired us to call the duo Alamaailman Vasarat. Later on, when we started the actual band, we remembered the old duo and decided to use its name because it still sounded good!
Several members of the band played before in the band Höyry-kone. Why did they finally break-up and when was there the idea of forming Alamaailman Vasarat?
We did found Vasarat before Höyry-kone was broken up, but certainly there were signs in the air that things weren't that good for Höyry-kone. New material just didn't come together and finally some members decided to leave for anothet venues, namely the singer and later guitarist. Newly formed Alamaailman Vasarat seemed like a breath of fresh air, especially considering instrumentation.
How did you came up with the idea of this unusual, sometimes bizarremix of styles and using only 'non-rock' instruments?
At first, it was just some punky attitude against guitars and general opinion that you'd need bass and so on. Later we found out that acoustic instruments are very "rock" themselves and were able to get some energy out of old wood and rusty brass. In the early days, we were thinking about getting a singer a lot, but after the first demo we realised that we didn't need one - stories were already there, hidden between the notes!
Is it more an advantage or disadvantage that your music is very much open to every style and can't be easily categorized?
We've been lucky because we seem to fit many categories - prog, world music, jazz and even heavy metal fans like our music. Funny thing is that people who are into these music styles consider us being a part of that genre only and always seem to compare us with bands we've never heard of. It doesn't bother us, because it's kinda nice to venture between the "planes".
Comparing your two albums, "Vasaraasia" seems to more raw, containing more faster stuff, while "Käärmelautakunta" seems to be more introverted, moody and darker. Do you agree or where do you see the differences, the development between the two releases?
As most bands' first albums, "Vasaraasia" was a compilation of old and new songs written during the early years and just before the recording sessions. Maybe that's why the album sounds raw, surprising and maybe even faster than the new one. Actually in "Vasaraasia" there is a couple of very sad and slow songs such as "Lakeus" and "Hakumies", which are still my personal favourites. For the new album, we decided to widen the scope a little and orchestrate songs to be bigger while trying to maintain some of that earthy feeling present in "Vasaraasia". New instruments such as second cello, tenor sax and bass clarinet also give add some flavour to compositions. Songs themselves are a bit darker especially considering tempos and keys, but still melodic and even catchy!
Over which period of time where the songs of "Käärmelautakunta" developed and how to you work together when composing the songs?
If I remember correctly, the most intensive writing period was about six months before the sessions although some of the motifs and riffs were probably a lot older. For this album, songs are mostly written by me and keyboarder Miikka Huttunen, but never really arranged beforehand. When the melodies and chords are in place, we start to jam around them and maybe try out different music styles and so on. From there the song starts to take shape and when recording and overdubbing, it might evolve even more.
How do you choose the names for your instrumental numbers?
During heavy drinking sessions before or after the song is ready. In Finland it is a custom to poison yourself with those creative substances available in liquor stores. And hangover is a very creative state too - a source of many good melodies and moods.
Have you ever considered also mentioning english translations or the story behind the songs, for that not so many people understand finnish?
It's not really necessary because every listener can find his/her own story behind the songs. I think describing everything in detail could actually kill some of the magic. Music should be experienced, not analysed.
What can someone expect when coming to your live shows and what are the reactions of the people who have never heard anything from you before?
People can expect a raw show with plenty of energy and some odd stage performances. Dynamics between he songs are much wider and especially heavier songs hit like a hammer. When people see us for the first time, it's usually very surprising moment - you can see it from their eyes. Everyone seems to like it though, at least so far.
How were you received at the Nearfest and did you had any expectations concerning your appearance at this prestigious festival?
Nearfest was certainly a special gig for us and audience seemed to like us very much too. It was also nice to get to know some of the bands and too see how strong community had grown around the festival and the whole prog genre. We knew that this happening is big but never anticipated it had so much impact on our album sales and general interest in the band.
During this summer, you teamed up with Tuomari Nurmio. Can you tell a little bit more about him and what happened during theses shows?
Tuomari Nurmio is a Finnish legend, sort of like Tom Waits of Finland. He has played many decades this odd rock music with very good lyrics and weird arrangements. He contacted us and suggested some collaboration. We have so much in common with Nurmio's music that it seemed like a destined thing. So far we've done only one very good gig with him but later this month we'll do another at the Helsinki Festival which is a major event here. Should be interesting, we'll see what happens...
Who had the ideas for the videos in black and white with a kind of historical touch, that can be downloaded on your website and were they ever shown in public or at a film festival?
Director behind the videos - Markku Mastomäki always saw our music as black & white stuff and certainly it fits our style. For all the videos, we gathered some ideas together and Markku gave them final touch. New three videos were shot mostly in Prague and was a big project, spanning more than six months. Videos have been in rotation at local tv channels and music video festivals. Later, you might see them on DVD.
Kristian Selm © Progressive Newsletter 2003