1. Canvas  10:18
2. Violin Tone Orchestra  4:33
3. Four Notes  7:33
4. When I Am Laid In Earth  7:03
5. Freedom  8:58
6. Momentum  6:10
7. In The Beginning  12:45
In the pieces on this CD I have concentrated on short sound samples which I have used as a basic material for composing. What fascinates me about using "frozen sounds", is their dreamy, slow and timeless character. After stretching or transposing the sounds down you could start to hear hidden characteristics - microlevel sound phenomena, interesting overtones, colourful, vibrating and sometimes strange textures.
When a musician hits a note while playing, many things happens at the microlevel inside the sound that the musician isn't aware of. In these pieces I have tried to find these hidden characteristics of music and as a source material I have used sounds taken, for example, from my string quartet recordings. Just a tiny sample, lasting only a fraction of second, might give life to a whole new work. Concentration on restricted sound material means a great deal for my composition work, and part of the stimulation and enjoyment is the feedback that you'll get while allowing sounds simply to be what they are.
The "altered music" on this CD might give a vision about a performance of unreal, surrealistic musicians. And partly this is true. These performances are impossible for musicians to realise in live performance. At my concerts I have given an extra dimension and colour to some of the pieces by processing sounds in real-time and/or using additional sounds.
Publisher: Aureobel 3AB-0103, 2004 Finland.
Distributor: Digelius Music
List Price (in Finland): 17-18 euros.
AureobelP.O.Box 353, Fin-00131 Helsinki Finland.
You can send us your post address and Pay directly to our bank NORDEA, Helsinki.
The bank account number for
1) Finnish residents: NORDEA 114850-279596.
2) outside Finland: NORDEA Bank Finland, IBAN: FI2711485000279596, Swift: NDEAFIHH.
1) Finnish residents: NORDEA 114850-279596.
2) outside Finland: NORDEA Bank Finland, IBAN: FI2711485000279596, Swift: NDEAFIHH.
In January 2005 Inner Space radio selected the 'Momentum' as one of the Best Album releases of the year 2004.
What People Say About
"...excellent CD!" — Springel & Zabrinsky, Brazil
"Wow, is that beautiful! My favorites are Canvas, Freedom and In the Beginning, but they're all gorgeous. A lovely CD!" — Warren Burt, composer
"No wonder Petri Kuljuntausta was the one who wrote in last month [Paris Transatlantic] with that helpful background information on Terry Riley's activities in Finland in the early 1960s, as his own music is as unashamedly minimalist as the works Riley performed and recorded there all those years ago. Working with tiny samples of instrumental sound (the composer freely admits that "these performances are impossible for musicians to realise in live performance"), Kuljuntausta builds structures of deceptive simplicity, either harmonically rich ("Canvas", "Momentum") or more straightforwardly tonal ("Four Notes", "Freedom").
"This is sort of a homage to Gaia in that piece [Canvas]. ...sounds like Sibelius, Sibelius with a Kangasaurus [Transmission Genetics simulation software]. It possible to connect us together with a guest. We go there, we go to Finland!" — Kalvos & Damian New Music Bazaar
"I was just going out when I put the record on. The music stopped me, I just couldn't go until I had listened the whole record through." — Hannu Karisto, radio producer | YLE
"Petri Kuljuntausta knows his stuff when it comes to ambient electronica -- he's worked with countless composers and artists, contributed music to a myriad of multimedia projects [...] It's no surprise, then, that Momentum's glacial post-Eno explorations sound and feel like the work of an accomplished musician. Beginning with fragmentary sound samples (some as short as a quarter-second) and stretching, transposing, pitch-bending and ultimately transforming them, Momentum offers a great example of how to create something out of, essentially, nothing. Kuljuntausta's best compositions will take you through a subtle series of gradient shifts and minute color changes, soothing and flowing like good incidental music should. [...] If you're looking for reflective solitude, you've got a friend in Momentum." — Splendid
"Great CD!" — Juhani Liimatainen, professor of Sound Design | Finnish Theatre Academy
"emotionally arresting ambience. — Petri Kuljuntausta approaches ambient music with a solid sense of history and drama. He’s the author of On/Off an 800-page history of Finnish electronic music, a collaborator with Morton Subotnick and Atau Tanaka, and a composer of film soundtracks for experimental film director Sami van Ingen. Momentum finds him distilling his knowledge and his aesthetic discoveries into an evocative series of electronic compositions.
"Excellent CD!" — Jyri-Jussi Rekinen, Rytmi magazine
"Momentum is interesting, almost conceptual artistic re-interpretation of previously composed compositions. The basis for the compositions is in short sound samples. As the composer says, these "frozen moments" are dream-like, slowly opening and somehow timeless horizontal sound lines. Totally new kind of sound vibrations has born by strecthing and layering these lines. When looking the sampled material closely enough, in microlevel, from there raise up new and unknown tone lines. Naturally they've been inside the original composition, but now they've got their own acoustical life. At the end the music is peaceful ambient, or well-worked minimalism, and from that we could continue cyclically dive deeper [into the sound]. [...] tempting sound spirals. By strecthing sounds in time he has created interesting sound material. Brave searching of new is rewarding for the listener." — Aksentti magazine
"Seven compositions realised between 1996 and 2002 from the portfolio of Finnish modernist Kuljuntausta, all of which are rewarding listens and some of which are in fact quite sublime. A resolute modernist, yet he has a firm grasp of tradition: awareness of musique concrete, improvisation and working with media artists has helped shape his work. Impressively for music of such resonance and depth, it’s all constructed from digital samples. What he samples is, almost exclusively, live performances of music by real musicians; but he zeroes in on very small and short fragments of performance, micro-seconds of music. He believes that a performed sound has many ‘hidden characteristics’, things that not even the musician is aware of, and things that we listeners easily miss as each sound flies past us in real time. Once captured in his sampler, he calls them ‘frozen sounds’, and likes their ‘dreamy, slow and timeless character’. He stretches, slows down, and transposes each sound, to the degree that he believes he can see their micro-structure passing visibly before him.
"Contemplating music. I enjoyed the record..." — John Richardson, PhD musicologist
"I liked it." — Al Margolis, Pogus | Deep Listening
"Appearently Petri Kuljuntausta is a busy bee. He has worked with filmers, urban architects, composers (such as Morton Subotnick and Atau Tanaka) but he also wrote a 800 page book on History Of Finnish Electronic Music. For his latest CD 'Momentum' he uses short samples as the basic material for composing. Overall the music on this CD has an ambient character and the sounds seem to be stretched out a lot - at least by my perception. This is rather pleasent ambient music of a more relaxing kind. Not upsetting or anything, but also something that is very new to me. [...] on a cloudy sunday morning good music to wake up." — Vital Weekly
"I listened to it with great delight." — Jim Nollman
"Momentum is really a beautiful work and I really enjoyed it a lot." — Inner Space
"It is great album! I was so surprised about it's classical sound. Nowadays we talk about "What kind of albums you have in your iPod?" Momentum is one of those that I have selected to my own one." — Perttu Rastas, media art curator | Kiasma, Museum of Contemporary Art
"Sounds behind the Sounds. — Petri Kuljuntausta has travelled a long way in the world of miraculous sounds. He has carried his own compact arsenal of electronic instruments and soundscapes to many arenas. He has build up his own music at his studio and searched the deepist meaning of sound. His music has been published on many international recordings, but Momentum is his first full-length album. Kuljuntausta is best known on his environmental sound compositions. He is interested on urban environments as well as nature sounds, both heard in his compositions and concerts: sounds from London, Milan, Helsinki, as well as sounds of water, animals and Aurora Borealis. The combining link between the works on Momentum is "frozen time": holded and stretched sounds which has got a new meaning. The sounds that you didn't know even exists. Kuljuntausta's method with these compositions is interesting: as a basic material he has used very short samples, by processing them he has brought up totally new things. By slowing sounds down, stretching and changing the pitches it is possible to go inside the sounds, to the new worlds which doesn't open until the sound material is on the computer and under microscopic research. Final output is very interesting and surprising. Behind the music we could find new music, behind the views are new views, behind the sounds are new sounds: dream-like, slow, mysterious and somehow strangely beautiful. — The music on this album is a great prove from the fact that less could be more. From the very limited material and strict starting point has born rich music, which sounds fresh and which also prove the aware of tradition at the same time. For example the spacious and slowly developing soundscapes of Canvas, Four Notes and Momentum are related to Ambient of Brian Eno. The full and dark colours of Freedom reminds the listener of Steve Roach's and Robert Rich's sound paintings. The closing track In the Beginning is like a symphonic poem for environmental sounds. Beautiful and mysterious music. It is good to stop by on these sounds." — Rytmi magazine 2004
"Momentum presents the best heritage of ambient music and Eno." — Jukka Mikkola, Space Junk
"Beautiful music." — Juhani Nuorvala, composer
"Habitué à composer pour des films expérimentaux, des installations plastiques et des spectacles de danse, le Finlandais Petri Kuljuntausta a appris à équilibrer narration et abstraction, respirations silencieuses et intensités, lumière et ténèbres. Plus loin, très concerné par son héritage musical, il base sa composition dans la tradition de plusieurs écoles, comme celle de la musique concrète ou celle de l’improvisation. Il est même l’auteur d’un livre, On / Off, sur l’histoire de la musique électronique finlandaise. C’est son versant le plus apaisé qu’il a décidé de prolonger. Toutes soutenues par de longs tissages d’harmoniques, de cors ou de cordes, ses pièces sont rayonnantes. Composées à partir d’un stock très limité de sources sonores, celles de l’album Momentum traquent le potentiel, brillant ou dronique, mélancolique ou électrique de chacun de ces gisements. Voilà sans doute pour la tradition chirurgicale. Mais Momentum est aussi et avant tout le disque d’une réalité dramatique infime, mélodique ou submélodique, un déroulement aveugle et tactile. Comme après l’extraction de la gangue, les gemmes révèlent leurs feux et scintillent dans une symphonie de couleurs violacées, les boucles et les strates minérales de Petri Kuljuntausta s’accordent jusque dans leurs ponctuations pour dilater le souffle, l’imagination, la révélation." — Denis Boyer / Fear Drop
"...feels really great. There is so much peace and meditation that soul needs." — Unto K. Laine, Professor | HUT, Laboratory of Acoustics & Audio Signal Processing
"Brilliant material!! Peaceful and moving..." — Mika Kärnä, visual designer
"Kuljuntausta's hit piece!" [Momentum] — David Rothenberg, philosopher | musician
"Momentum is het eerste album van de Finse elektronische componist Petri Kuljuntausta. De titel van zijn plaat is goed gekozen, want de minimalistische muziek die we hier te horen krijgen houdt zich grotendeels op in het stilstaande moment. Het verstrijken van de tijd wordt hier als het ware even stopgezet. Als basis voor zijn statische composities maakt Kuljuntausta gebruik van kleine geluidssamples die in vele gevallen niet meer dan een fractie van een seconde duren en die hij vervolgens met elkaar combineert tot loops en in elkaar geweven gelaagde geluidsbrokken. Daardoor kruipt de luisteraar in zekere zin binnen in het geluid zelf. En geluiden blijken veel rijker te zijn dan doorgaans gedacht. In één toon klinken zovele andere tonen en geluiden mee die we anders niet te horen krijgen, maar die met technische middelen toch ontbloot kunnen worden. Doorheen composities als ‘Violin Tone Orchestra’, ‘Freedom’ en ‘In the Beginning’ horen we echo’s van Gavin Bryars, Arvo Pärt, Brian Eno en vooral van minimalistische grootmeesters als Steve Reich en Terry Riley. " — KindaMuzik
"Well done!" — Leigh Landy, Professor of Music Technology
"...sounds real good, I like it very much." — Oliver Whitehead, visual artist
"Last night I watched in wonder as the International Space Station arced its way across the clear blue Devon sky and vanished just before the horizon; this would have been a perfect soundtrack. ...for a lot of people who’ve sipped deeply from the well of ambient over the years Kuljuntausta’s Momentum will be a much admired and enjoyed addition." — Stylus
"It's great!" — Lee Fletcher, musician | producer
"I was really thrilled listening to it, not knowing that it would appeal to me so much. I especially liked the tracks Momentum and Freedom." — Inner Space
"I like it very much, great works!" — Timo Cantell, PhD, Music Sociologist, Professor of Arts Management | Sibelius Academy
"“What interests me using frozen sounds is their dreamy; slow and timeless character. After stretching and transposing the sounds down you could start to hear hidden characteristics –micro level sound phenomena, interesting overtones, colourful, vibrating and sometimes strange textures” introduces the booklet and this describes already the intention. What you can hear in the "Violin Tone Orchestra" piece is the transposed multiplied recording of one violin note. In "Canvas" it's more an overtone communication between very close sounds of different instruments (choir, electronics, whistle instruments...). "Four notes" sounds a bit like early Klaus Schulze..." — Psyche Van Het Folk, Belgium
[Concert:] "Petri Kuljuntausta, the authority of the Finnish electronic music, proved again of his masterity in live-electronics. During the concert performance the sound wizard stayed still, deeply concentrated, behind his impressive looking equipment board. His music was based on concrete sounds and reflected a deep knowledge of the old school of electronic music. Hypnotic music convey the listener along. Just a one violin note could give a solid ground for the whole performance. Skilful musician painted hypnotic visions. A composition based on four violin notes gave a possibilities for rhythmical development. The rhythmical figures were defined over and over, which blowed up listener's consciousness all over again. Devoted and spacious atmosphere lasted until the end of the performance." — Mikko Lehtola, musicologist
[Concert:] "Petri Kuljuntausta's music has published in Europe and the USA. During 2000-2001 he collaborated with a legend of electronic music, Morton Subotnick. Kuljuntausta's music is based on recorded, concrete sounds and soundscapes. ... there are electronic compositions constructed from violin tones. The music segments were originally produced by old-fashioned-way, then evaluated again and transformed into the unreal virtual instruments. Live-electronic processing brings back the performative side of the music." — Aktivist
"Can a work of sound art (aka “music”) survive on color alone? Petri Kuljuntausta makes a good case that it can in his most recent CD Momentum. All of the works represented on his program rely heavily on the concept of color as subject-matter; some exclusively so. Kuljuntausta’s fascination with color takes form in a keen interest in the building blocks of sound and how these various elements (harmonics, beating patterns, etc.) can be isolated and magnified so that they begin to function as their own entities, standing apart from the sonorities within which they originated. As a result, his music is more concerned with the steady revelation of these hidden components than with any sort of linear form or presentation of themes, which would be indicative of the classical tradition. With this in mind, the listener should not listen to Kuljuntausta’s music with the expectation that it should methodically progress from one point to another, but should instead revel in the experience of being enlightened as to the latent powers of expression that are contained within what would otherwise have been considered “simple” particles of sound.