Keijo

muumipoimuri · 02.08.2021 20:23

muumipoimuri wrote:

muumipoimuri wrote:
Mitäpä jos kuunnellaan kaikki levyhyllyjemme Keijot läpi. Ei oo kyl montaa mulla.
Rambling boysin nimikkolevyllä aloteltiin. Helpommin lähestyttävää boogie keijoa. Nämähän on tehny viisikin levyä. Ja tässähän on Nousiainen mukana. Olikohan tämä se bändi, jonka näin Siltasessa joskus, olisko ollu Kuudes aisti festarit? Vai oliko se joku muu Keijokokoonpano?

Koti kaukainen
Ei mitään perusboogieta, mutta helpommin lähestyttävästä päästä taitaa olla tämäkin. Ja varmaan parhaimmistoa. Nimikkobiisi on aika kaunis ja Joskus tuntuu biisissä on aika kova meno taustalla. Krediiteissä lukee että Keijo on soittanut kaikki soittimet. Aika kova.

muumipoimuri · 10.08.2021 20:26

muumipoimuri wrote:

muumipoimuri wrote:
muumipoimuri wrote:
Mitäpä jos kuunnellaan kaikki levyhyllyjemme Keijot läpi. Ei oo kyl montaa mulla.
Rambling boysin nimikkolevyllä aloteltiin. Helpommin lähestyttävää boogie keijoa. Nämähän on tehny viisikin levyä. Ja tässähän on Nousiainen mukana. Olikohan tämä se bändi, jonka näin Siltasessa joskus, olisko ollu Kuudes aisti festarit? Vai oliko se joku muu Keijokokoonpano?
Koti kaukainen
Ei mitään perusboogieta, mutta helpommin lähestyttävästä päästä taitaa olla tämäkin. Ja varmaan parhaimmistoa. Nimikkobiisi on aika kaunis ja Joskus tuntuu biisissä on aika kova meno taustalla. Krediiteissä lukee että Keijo on soittanut kaikki soittimet. Aika kova.

Siirrytään kasetteihin. Got to go.
Tää taitaa olla ensimmäisiä Keijoja mitä ostin. Tässäkin kerrotaan, että about kaikki soittimet by Keijo, niin se kai sit on yleensäkin. Ohan tää ihan hyvää erikoisbluessia ja välillä on aika montaki soitinta revittelemässä.

muumipoimuri · 14.08.2021 20:05

muumipoimuri wrote:

muumipoimuri wrote:
muumipoimuri wrote:
Rambling boysin nimikkolevyllä aloteltiin. Helpommin lähestyttävää boogie keijoa. Nämähän on tehny viisikin levyä. Ja tässähän on Nousiainen mukana. Olikohan tämä se bändi, jonka näin Siltasessa joskus, olisko ollu Kuudes aisti festarit? Vai oliko se joku muu Keijokokoonpano?
Koti kaukainen
Ei mitään perusboogieta, mutta helpommin lähestyttävästä päästä taitaa olla tämäkin. Ja varmaan parhaimmistoa. Nimikkobiisi on aika kaunis ja Joskus tuntuu biisissä on aika kova meno taustalla. Krediiteissä lukee että Keijo on soittanut kaikki soittimet. Aika kova.
Siirrytään kasetteihin. Got to go.
Tää taitaa olla ensimmäisiä Keijoja mitä ostin. Tässäkin kerrotaan, että about kaikki soittimet by Keijo, niin se kai sit on yleensäkin. Ohan tää ihan hyvää erikoisbluessia ja välillä on aika montaki soitinta revittelemässä.

Semmoset kasetit löyty vielä ku Keijo & Jukka ja Keijo & J.Koho Famous at home. Nyt vasta tajusin että sehän on tietty Jukka Nousiainen, en tuntenu herraa sillo ku kasetin ostin. Mut ei ollu kyl paras näistä levyistä. Koti kaukainen varmaan paras. Yhtään ceedeetä tai ceedeeärrää ei ole enää. Joku Luovajan julkasema cdr oli joskus, missä tais olla yks yli puolen tunnin biisi.

66 levyä sanoo RYM.

psychocandy · 14.08.2021 20:11

Kuuntele bandcampista Soon With The Sun, siinä on klassikko peuk

muumipoimuri · 15.08.2021 18:51

Nii Black trumpets kasetti löyty vielä kokoelmista Keijon hipster rock levy.

psykokarkki · 13.03.2022 23:34

uusi keijo-albumi, kasettijulkaisu, bandcampissa näköjään vain 5 ekaa biisiä, aika on meri

<a href="https://ikuisuus.bandcamp.com/album/aika-on-meri">Aika On Meri by Keijo</a>

tracklist:
A1: Aika on meri
A2: Got to keep on moving
A3: My Pay Day Has Come
A4: All My Money Was Gone
A5: When will that old blues go away
A6: Katot kuutamolla
A7: No reason to stay
B1: Again the same way
B2: At night
B3: An easy escape
B4: No Excuse for Leaving
B5:
credits
released March 13, 2022
featuring Alex Reed (drums A1), Jukka Nousiainen (drums A6), Sini Mäenpää (bass A6), Nightingales in Kuusankoski (B2)

psykokarkki · 09.06.2022 21:54

keijo tänään 71 v. bileet

psykokarkki · 01.08.2022 11:23

hesarin muistokirjoitus: Keijo Virtanen 1951–2022

RIP frown2

jookcha · 19.08.2022 12:50

Mistähän sais tilattua Keijon kirjan Leimuava hiljaisuus? Juu kirjastosta löytyy mutta toi on sen tyyppinen kirja joka olis hyvä olla omassa hyllyssäkin.

psykokarkki · 31.08.2022 18:59

Kesällä kuolleen Keijo Virtasen viimeinen kirjallinen työ on mäntyjen ylistys

psykokarkki · 20.09.2022 15:26

“My music starts out as something very personal, but then I release control of it. It makes me very small. I am just a mediator.” The veteran Finnish DIY musician and artist Keijo Virtanen died on 16 July aged 71. In July 2007, Matthew Wuethrich interviewed him in The Wire 281.

”There is this soundworld,” says Keijo Virtanen, referring to Kheta Hotem, one of the improvising collectives he collaborates with, “and those who want to visit there can. The sounds remain there and we just borrow them for a while.” The sleevenotes to the group’s self-released CD The Swans Are Leaving name this world Santamaki, and provide plenty of ethnographic detail about the Komutians, an ancient Finno-Ugric tribe they derived the concept from. But you won’t find Komutia on any map; it is a Borgesian fantasy sprung from the group’s imagination, a land that exists only when they play. This example of collective sonic terraforming, however, says much about his benign, holistic approach to the music making process. From his home in Jyvääskylää, Finland, the 56 year old musician and writer known simply as Keijo travels widely, either through his music or on his beloved East German MZ motorcycle, in search of new experiences and perspectives. “Cultures can become prisons,” he says. “Forms are necessary, but they shouldn’t be made of iron. Forms have to live, be organic, like plants.” In his solo recordings and frequent collaborations with the improvising collectives Vapaa and The Free Players, available on CD and CD-R from labels such as Digitalis, Last Visible Dog and Pseudo Arcana, this searching resounds in his subtle and elusive blend of stringed instruments, percussion and electronics. Like Keijo, the sources of his music are humble and full of surprises. While we are in his garage looking at his motorcycles, he rummages through two large holdalls stuffed with instruments: a onestringed African percussion device, strings of miniature bells, a length of plastic tubing wound into a makeshift horn, a giant dried seed pod, a tambourine. He picks out a metal canister that is open at one end, drops a hard plastic ball into it and begins circling his hand. The circulating ball emits a tiny, hypnotic and instantly recognisable sound. It appears on many of his recordings, where it is inscrutable and mysterious; here in his garage, it becomes simple and childlike. He stares into the canister and remembers when, as a child, relatives from Helsinki came to visit his family in the small village he grew up in, bringing along a cake packaged in a large tin. The lid and its percussive possibilities fascinated Keijo, so much so that he and his noisemaker were soon driven from the house, and eventually separated altogether. “Maybe that’s why these sounds are so important to me,” he wonders aloud, “because my parents took that tin away.”

Keijo has always been fascinated with sound. “From a young age,” he explains, “I’ve heard sounds in my head, so the challenge is to get them out. But the ideas also come from outside, from phenomena like wind moving a loose metal panel on a roof.” He compares the way he builds his pieces to Wittgenstein’s conceptual rope, where no one strand is continuous; instead, all strands overlap to express a whole. His music, then, becomes a negotiation between seemingly opposed elements — the organic and the

‘artificial’, the acoustic and the electronic — the goal being to expose the common roots and mutable nature of all sound. In an unpublished memoir, Keijo discusses the origins of his approach to music. His early years are dominated by evocative memories of individual sounds: his mother’s pure singing voice contrasted with his father’s more relaxed crooning; the music made by local village musicians; a neighbour’s gramophone belting out jazz. This attraction to the texture of single sounds is still evident. For stretches of our conversation he enthuses about the audio signature of various types of motorcycles and then plays a recording that features the purring drone of his MZ. In his music, such miniature sounds play an outsized role. On pieces like “some still at work” (from 2006’s for a while on Last Visible Dog), he rubs two heavy discs of scrap metal together, and at first the piercing metallic whine balances with fragmented guitar arpeggios, until the contact mics are switched on and the whine becomes a squall of white noise that threatens to shake the piece apart. Elsewhere on for a while, as well as on this year’s flying over (Digitalis), another of Keijo’s passions comes to the fore — the blues. Both records are full of swirling celestial tones, but he anchors many of the pieces with skeletal blues riffs that he repeats until they gain the weight of mantras. His gateway to the blues was a pocket radio, brought from overseas by a cousin returning from a United Nations peacekeeping assignment. At night in bed, under the blankets and through the crackle of static, the adolescent Keijo would listen to the rhythmic adrenalin rush of rock ’n’ roll. He soon realised the source of this music was the blues. What intrigued him was the way in which the music of a musician such as Muddy Waters seemed to throw up correspondences with his own life. “The growling voice and whining guitar somehow felt like they belonged to where I lived,” he writes in his memoir. “We lived far out in the countryside, in the middle of nature, where it took hard physical labour to get what you needed from the ground.” The blues offered Keijo what the strict forms of Finland’s popular music at the time, such as the tango and Easy Listening dance music, did not. The blues were wild and untamed. In the mid-60s he acquired his first guitar and began to organise concerts at his high school, events that featured the first wave of Finnish free jazz players, such as saxophonists Juhani Aaltonen and Pekka Pööyry, as well as the psychedelic rock of Tasavallan Presidentti. Nowadays, he finds the same spirit that animated those early Finnish experimentalists in Vapaa and The Free Players, collectives of twentysomethings who, Keijo says, share his passion for accident, experimentation and improvisation.
In the early 1970s Keijo went to study literature at the University of Jyvääskylää. His exploration of the blues deepened, but he was also exposed to new cultures and musical approaches. A visiting Chinese orchestra revealed the wonders of throat singing,
while Indian philosophy and culture also suggested other paths to explore. Indian music had a special resonance, as he heard in it the same things he had heard in the blues. He began to practise meditation, studying with electronic music pioneer and Tibetan Buddhist Pekka Airaksinen. “Chanting a few mantras and travelling to India didn’t help my throat singing all that much, but my understanding of what links all forms of playing music, that was broadened,” he writes. “According to Indian mythology everything has gotten and gets its beginning from trembling, from vibration. What Western culture calls music is only a narrow and tightly controlled fragment of the whole. Elsewhere other fragments are understood. These fragments inevitably encounter and merge with one another. The blues, ragas, mantras—they all share the same root.” Sounds mutating and merging are the hallmark of Keijo’s recordings. In 2003, the release of Keijo on lal lal lal made Keijo’s vision widely available for the first time. That record’s pulsating layers of electronic and acoustic textures suggested a concept emerging fully formed, when in reality it had been evolving for years. “What has surfaced publicly is maybe not entirely representative of what I do,” he says, and the boxes of cassettes in the corner of his apartment and the hundreds of hours of recordings nesting on his hard drive attest to a pool of experience too large to fit on a single record. His home recording began in the early 1980s, principally with Jarmo Saarti, a collaborator to this day in Kheta Hotem. The pair used whatever was at hand — paper, rocks, a homemade thumb piano — and some of the sessions ended up as ambience for Keijo’s creative writing classes. For now, his recordings exist as public documents, a situation Keijo has never actively sought out. When a label expresses interest, he just sends them a few hours of tape. “I’m very bad at deciding what goes together,” he admits, “they do that.” Such a hands-off approach would seem to conflict with the elegant shapes of his music, but he demurs, saying, “I like the fact that my music starts out as something very personal, but then I release control of it. It makes me very small. I am just a mediator.” This openness carries into all aspects of his life. In person, he is warm and enthusiastic, ready to discuss whatever subject comes up, be it his passions for Woody Guthrie, Sun Ra and motorcycles, or even the two motorcycle accidents, one the fault of a drunk driver, which have left their marks on his face and caused extensive nerve damage. He seems to accept the surprises life throws up, even if it means accepting paradoxes and situations out of his control. “Most cultures don’t tolerate paradoxes,” he states, “but everything has two polarities and one can be at either end, but you are still between them. I think I belong to all cultures. You know, anyone can learn another language, so why not another culture?” I ask him if this is what drives his music. He turns to me, smiles and says, “I have not fixed these principles yet.”  flying over is out now on Digitalis Recordings

Keijo The Wire 23

psykokarkki · 13.04.2024 00:50

keijoa vuodelta 2009, reduce snow

<a href="https://267lattajjaa.bandcamp.com/album/reduce-snow">Reduce Snow by Keijo</a>

psykokarkki · 15.07.2024 13:24

kheta hotemin la-bas -keikka vuodelta 2010:

<a href="https://267lattajjaa.bandcamp.com/album/the-most-wonderful-how-does-it-sound">The Most Wonderful - How does it sound? by Kheta Hotem</a>

jari koho, percussions
anssi kukkonen, syntetisers
tero nieminen, didgeridoos, vocal
hanu pelkonen, bass, flute, springdrum, vocal
tiitus petäjäniemi, saxofon, effects, vocal
jarmo saarti, drums
keijo virtanen, vocal, mouthharp, lyrics

psykokarkki · 15.07.2024 14:44

hemmetin kova biisi, kuin kulkukoiria:

Kuin Kulkukoiria

Kuin koditon vain voi kuljeskelen täällä
Lintuna lentäisin kaukana valtameren päällä
En löydä kulmilta enää ystävää
Ja baareista sinisenä soitto soi

Vaimealla väellä istumassa kiveyksillä
Ei muuta tekemistä kuin vetelehtimistä jalkakäytävillä
Täällä parempaa ei ole nähtävillä
Jostakin varmaan katsellaan meitä kuin kulkukoiria
Ja työttömiä kohdellaan kuin loisia

Kun tulin tähän kaupunkiin tehtaita näkyi laajalla
Sitten tuotanto siirettiin kaikkialle muualle missä työvoima on halvempaa
Sitä löytyy aina kauempaa

Kun tekemisen arvoa mitataan vain rahalla
Ja ihmisen kohdalla ei osata ollenkaan
Kaikkea tuotetaan ja ostetaan halvimmalla
Ja myydään kalleimmalla

Ei ihme että työläisiä kohdellaan kuin kulkukoiria
Ja työttömiä kuin loisia

tuolla lukee että Tulevalta LP:ltà - From the forthcoming LP (julkaistu reilu 10 vuotta sitten), mutta ilmestyikö ikinä, ei ainakaan discogsissa näy huhhuh sadbanana

psykokarkki · 16.07.2024 13:36

tämä ilmestyi samaan aikaan tuon eilen postatun kheta hotem -levyn kanssa, something in my blood:

<a href="https://267lattajjaa.bandcamp.com/album/something-in-my-blood">Something In My Blood by Keijo</a>

Street Spirit Sr.

#151 02.08.2021 20:23

Re: Keijo

#152 10.08.2021 20:26

Re: Keijo

#153 14.08.2021 20:05

Re: Keijo

#154 14.08.2021 20:11

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#155 15.08.2021 18:51

Re: Keijo

#156 13.03.2022 23:34

Re: Keijo

#157 09.06.2022 21:54

Re: Keijo

#158 01.08.2022 11:23

Re: Keijo

#159 19.08.2022 12:50

Re: Keijo

#160 31.08.2022 18:59

Re: Keijo

#161 20.09.2022 15:26

Re: Keijo

#162 13.04.2024 00:50

Re: Keijo

#163 15.07.2024 13:24

Re: Keijo

#164 15.07.2024 14:44

Re: Keijo

#165 16.07.2024 13:36

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