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Simple pentatonic keyboard lines snake over rigid drum‑machine patterns; bass figures loop with small variations until they become a kind of trance; cheap synth brass and organ sounds approximate the colours of traditional ensembles in an unmistakably 80s palette. What might have been background in its original context moves to the foreground here, letting the listener hear how these bands translated classic Ethiopian modal language into a bare‑bones, garage‑electronic idiom. There’s a homespun futurism to it all: you can feel the constraints of the machines and the tape, but also the pleasure of musicians pushing those limits just enough to make the dancefloor—or the living room—sway.\u003c\/p\u003e\n\u003cp\u003eMitmitta’s selection highlights a cast of names that deserve to be said out loud. 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The album is in stereo, with a richer, more mature palette that includes trumpet contributions from Raimo Sinnemäki on tracks 1 and 4. The inclusion of vocals — more present here than in past works — adds another human layer to its ghostly, fragmented atmosphere. At its core, Lapsikuninkaan Fanfaari is an exercise in stretching time and shaping memory’s shifting terrain. Toivonen describes his music as something akin to the faded recollection of a melody – what music might sound like when recalled after years of experiencing silence.\u003c\/p\u003e\n\u003cp\u003eThis blurred approach to sound is underscored by the use of an off-key Walheim piano, a recurring presence in his recordings, and the warmth of a four-track tape recorder, lending the album its organic, tactile quality. The album unfolds with the logic of a fever dream, a narrative of some sorts, but one that refuses to\u003cspan\u003e settle. 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Here the pacing stretches further still: ‘Mitä on tapahtunut sadussa, on tapahtuva minullekin’ unfolds through widely spaced chords that hang in the air, while the closing ‘Punaista ja keltaista ja kaikki toiset värit’ moves slowly through shifting tonal colour.\u003cbr\u003e\u003cbr\u003eAcross the record the materials remain spare. Short melodic figures circle slowly through open space, the piano’s sustain carrying long trails of resonance while small harmonic shifts quietly reshape the atmosphere. Rather than pushing toward resolution, the pieces seem content to hover there, allowing time to stretch and settle. There are distant echoes here of the resonant piano minimalism explored by Charlemagne Palestine and the patient tonal drift of Yoshi Wada, while the blurred edges and tape-softened atmosphere occasionally recall the memory-haunted ambience associated with William Basinski or Grouper. 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