Lauri Järvilehto - Typhoon
The latest track by Lauri Järvilehto, “Typhoon,” is a masterful blend of funk rock and experimental electronica that showcases his deep musical prowess and innovative spirit. This song stands out in the indie music scene for its daring fusion of genres, creating an exhilarating listening experience that keeps you on your toes from start to finish. Exploring the latest release by Lauri Järvilehto - Typhoon The mix of “Typhoon” is a testament to Järvilehto’s meticulous production skills. The vivid dynamic range breathes life into the track, ensuring that every note and beat hits with precision and clarity. The carefully crafted stereo field immerses the listener in a rich auditory landscape, where each element finds its perfect place. The lead guitar, in particular, is impeccably placed, weaving through the composition with a progressive flair that adds depth and complexity to the song. The track’s infectious energy and innovative sound design make it an ideal fit for indie comedy dramas like "The Half of It" (2020) and "Thunder Road" (2018). In these films, "Typhoon" could seamlessly underscore scenes of introspection and transformation, enhancing the narrative with its vibrant and dynamic essence. In conversation with the artist Walk us through the songwriting process for your latest release, Typhoon. The song got started on an airplane en route to Lagos, Nigeria when it was landing. I travel a lot for my work and I take a Teenage Engineering OP-1 and a Roland SP404mk2 everywhere I go. They're perfect for pulling out in a plane or a train or even setting up a mini studio in a hotel room with an SM58 mic and a small keyboard. In the plane, I started playing with a pretty quirky sequencer on the OP-1 called "tombola". It's basically a random musical pattern generator based on the notes you've chosen. I came up with the jangly musical bed that runs through the intro and choruses of the song. Then I sampled the pattern in the SP404mk2, programmed a beat and a bassline on it. The initial idea was called "Landing", thanks to where it was made. After a while, I ported the sketch to my studio and started working on the vocals, bassline etc. I ended up replacing the programmed bassline with an electric bass that's doubled with a telecaster thru a fuzz pedal on the verses. Then I ran into a bit of a problem: I couldn't get the right kind of roughness that I felt the song needs thru programmed drums. Even though I hadn't played or recorded live drums in 15 years, I got a kit to the studio, mic'd it up and already the first demo run sounded amazing. That was really the catalyst for the song that made it click. Most of the original melody was sung to nonsense lyrics, and the lyrics came to me almost on a single session when I was walking towards the harbor from my mother in law's place in Hanko, a city in Helsinki where my wife is originally from. The song is reminiscent of classic funk rock acts with just a hint of Electronica. Tell us how you developed this unique soundscape. I have a very strong background producing electronic music, although I did work with a few funk and rock bands back in the day when I worked full time in the Finnish music industry in early 2000s. But deep down, I'm a synth geek. Last few years, though, I've really started gravitating towards classic rock. I've had bands like Van Halen, AC/DC and ZZ Top in heavy rotation now for a few years, whereas electronic acts that used to be huge for me ten or twenty years ago like Björk, Daft Punk or Vangelis have been less prominent. I think, though, that the key catalyst for this sound – as well as the new album, Songs About Sadness, launched later this year – has been The Beatles. I never really got the band until a friend of mine recommended the Beatles documentary by Peter Jackson. That's when the penny dropped. Last year, while working on the album, I listened through their entire catalog, singles included and have lately lived through a kind of a one man Beatlemania. I think it's a massive gift to finally understand how to listen to this music. It's almost like magic. In writing songs for the new album, I've tried to incorporate both the electronic elements that are really natural to me as well as live instruments. I don't really know how to play any other instrument professionally except the piano, but I can make a lot of sounds from anything I can get my hands on – and I really love the immediacy of putting down beats behind a drum kit or fiddling out a bassline from an actual bass guitar, let alone the sound design opportunities with electric guitars and pedals. The harmonic bed is studded with different instruments. Was there a hunt for the perfect VSTi or did you prefer using real instruments? I used to work almost completely "in the box" for years, and most of my Songsworth stuff has been written basically with only VST instruments – except Launchland from 2012, where the Yamaha SY99 was the central instrument. Already for North Star Revisited from 2023, I started dabbling with guitars and bass, and with the new album it really blew up, and they flipped in a very prominent role. I'm actually not sure whether there are any VSTi's on any of the songs on the new album. I love the immediacy of programming physical analog synths as well as the SY99 which I've had since early 1990s. Practically every sound on the album has been programmed out of the box. The same applies for Typhoon as well. There are the drums, bass and telecaster, the OP-1 and the SP404mk2 beat, the snare has been overdubbed with a sample of me digging into a crate of my kids' Duplo Legos – and then the overdubbed backing vocals and handclaps. And the Les Paul solo in the unedited version of the song – I think it's the best guitar solo I've ever played so far. So it's really a lot of handiwork that goes into making these songs – but it's just so much fun! Looking ahead after back to back 2023 EDM releases After a plethora of solo projects, where does Lauri see himself concerning future prospects? I'm very focused on this solo project now, and the new album Songs About Sadness is basically ready for mastering. For the remainder of this year, I'll focus mostly on getting this music in front of people. I've also started work on the next album, and the funny thing is that the new song sketches started demanding an acoustic guitar. While I'm in no way a proficient guitarist, I got myself a Martin D-10 and it has again become quite a catalyst for the music that I'm writing right now. My biggest influences have already for years been David Bowie, Leonard Cohen and Bob Dylan, and given what especially the latter two can do with just an acoustic guitar is insane. I doubt I'll be just me + guitar, as I love the studio work so much, but I think it may have a big role in the future – we'll see. Apart from that, I do have dozens of song sketches and not all of them will make my solo albums, so I'm also thinking about whether there would be alternative avenues to bring them to life. But for the time being, my musical bandwidth is fully dedicated to this solo avenue of expression, and more emphatically on the upcoming album Songs About Sadness. Where can fans expect to catch you live next? Let us know about your touring plans! I haven't had a live band since 2005, but I'm really dying to get in front of audiences again. I've been thinking about a few different ways of how to make that happen. So there is nothing concrete booked yet, but hopefully I would get a few gigs with a small lineup figured out by the end of the year. After your 2023 experimental EDM ventures with 'North Star Revisited' and 'You Are,' which styles can we expect you to adopt in your songwriting next? I think I'm going even deeper into this sort of retrofuturistic rock meets electronica sound. I've noticed I'm becoming old and mostly listen to music from the 1960s, 1970s and 1980s. Having said that, in modern music I'm gravitating especially towards the type of aesthetic produced by people like Jack Antonoff and Kid Harpoon. That is to say, lots of organic instruments, looping and layering, classic synths – and lots of handcrafting. Out of present day artists, I really admire St. Vincent. I've listened through everything she's released and I think she's in a strange way even a kind of modern embodiment of Bowie. As I mentioned, the acoustic guitar has become a big deal for my present songwriting process. Then I have the drums, bass, congas, bongos, guitars, pedals, synths and drum machines in the studio and I'm sure I'll be putting them to good use too. So we'll see. I doubt the new stuff will end up sounding exactly the same as Songs About Sadness – being a bit of an eclectic has always been a blessing and a curse for me. But I think with the more organic elements, it's somehow easier to express the deeper feelings I want to convey with my music. So that may also turn out to be a kind of a guiding force for any new music. Meanwhile, Songs About Sadness is coming out some time around October. It's a collection of ten songs each of which convey various aspects of melancholia, musings and wonder at life, the world and everything. I can't wait to get the rest of the music for people to hear. It has been such a journey putting these songs together. If the listeners can reach even a fraction of those feelings, it would be wonderful. Järvilehto’s background as a multifaceted artist shines through in “Typhoon.” His experience as a musician, producer, and composer on over 70 music projects, including his role as a theatre musical conductor, informs his sophisticated approach to composition. This track, like much of his work, reflects his philosophical quest to understand the world, blending emotional depth with technical expertise. “Typhoon” is not just a song; it’s an auditory journey that showcases Lauri Järvilehto’s unique place in the indie music scene. His ability to seamlessly blend genres and craft intricate soundscapes makes this track a standout piece in his impressive catalog, further solidifying his reputation as a versatile and innovative artist.
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