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Pimentola ------------------------------------------------------------------------------------------------------------------------- ECTONAUT: Please introduce Pimentola to the readers of Ortus Obscurum. What have you released so far and who are you who run this musical project? LEMPO: Pimentola is a musical output that begun its existence some time in 1996. I started Pimentola originally with a fellow called Turja. We released our first demo, Demo - 1, the same year. The music back then was some kind of dark metal, with synths and Finnish lyrics, drawing influences/atmospheres from the Finnish mythology. This demo was never really sold/distributed anywhere. In 1998 appeared the second work, Demo `98. By this time, Turja had left, and Pimentola continued as a one-man band. Demo `98 was in the same vein as the first demo, except more complex and with more dominating synths, programmed drums and harsher vocals. The third and latest Pimentola release, the Hämärän Seppele MCD, was released in 2000 by myself as a self-financed MCD, limited to 100 copies. After the two more metal oriented demos I aspired to do something more/different, so Hämärän Seppele differs a lot from the past releases. The music on this MCD is fully instrumental, Neo-Classical/Darkwave (or whatever you want to call it) with occasional folkish elements. Distorted guitar is still included in one song, but this CD is mostly built out of orchestral sounds & instruments. Who am I? Under matters concerning Pimentola, I am Lempo, the musician behind it all. Other than that, I´m just a Finnish guy who, besides music, is interested in literature, films and other kinds of art forms... to put it shortly. I shall not bore your readers more with this subject... hehe. ECTONAUT: Neo-Classical music from the land of the land of a thousand lakes, this is not something you receive in your mailbox every day if you know what I mean. It seems to me that you have a rather small scene over there in your country compared to how it looks over here in Sweden. What do you think is the reason for this? How's the scene over there really? LEMPO: I don't think there even exists any Neo-Classical scene in Finland, at least not that I know of. The only other remotely Neo-Classical band from Finland I have heard is Jääportit. The only explanation to this situation I can think of, is that Finland is such a small and remote country, and there aren´t that many people into this kind of 'marginal music' in the first place. But as to why Sweden, a country right next to Finland, produces much more music from this genre and it´s sub-genres, I have no clue. ECTONAUT: As told earlier, you released your CD-debut in the year 2000. A self-financed MCD-R entitled Hämärän Seppele, limited to only a hundred copies. How have people reacted on Hämärän Seppele until now? Have the reasons for releasing this MCD been met and are you still satisfied with this release? LEMPO: I have received only positive feedback about it! Only a minority have complained about things like the sounds/production. With this MCD I aimed to get some label(s) interested in releasing and distributing my future works, because it´s quite a time/money consuming process, and I´d rather concentrate just on the music making part. And in this the MCD has succeeded, because a few labels are already interested in my music. I am still satisfied with the songs/compositions themselves on this MCD, but the sounds and production never were what they could have been under better circumstances. The lack of certain type of musical equipment really limited the way this MCD turned out. However, the recording process of Hämärän Seppele did teach me to use better the equipment I own... so if I were to record the same MCD again right now, it might turn out different, maybe even better. For Pimentola this MCD was also a leap from analogue recording - to digital. ECTONAUT: I've noticed that much of the tracks that you compose are quite short ones. For example the last 4 tracks on Hämärän Seppele which are over in less than 5 minutes and the new outro on the Palace of Worms compilation which is below two minutes long. What's the reason for this? LEMPO: The reason for the short tracks is because I didn´t have a decent sequencer or some computer based multitrack program available. If these had been at use, the MCD would have probably been a one continuous flowing piece with not so many pauses. ECTONAUT: I know that the name Pimentola was obtained from the Finnish national epic Kalevala but what about the title of the MCD? Where does the title Hämärän Seppele derive from? LEMPO: You know, you're actually the first person to ever ask about this! The title Hämärän Seppele is a combination of two Finnish words, which translated to English would be "The Wreath of Twilight" (it sounds much better in Finnish). ECTONAUT: The MCD is very neo-classical in terms and several of the tracks would work in an ensemble. Yet on your old demos, you played a more Neo-Black-Metal-ish kind of music in the vein of Limbonic Art and Dimmu Borgir. What was the reason for the change of sound which occurred between your last demo and the MCD? LEMPO: To put it shortly; advancement in musical goals and preferences. I must say that Limbonic Art greatly influenced me in the times of the second demo, and I still value their music greatly. I gradually got bored with the whole metal genre, because it was just repeating itself, and the new releases were getting worse and worse, and at the same time I started discovering many music genres which were previously unknown to me (like neo/apocalyptic folk, dark ambient, industrial...). I also didn't want to be limited by the elements/sounds/instruments that form metal music, but wanted to broaden my sound spectrum to the more orchestral world. ECTONAUT: It seems to me that many people into metal music eventually turn their minds to composing more Neo-Classical music or Industrial music and thanks to this phenomena, we have several great albums released by artists such as Arcana, Puissance, Mortiis and Ice Ages to name just a few. Speaking from your own experience, what do you think is the reason for this? LEMPO: In my case, it happened because of progression in my musical aims and preferences, like I mentioned in the previous question. I just didn´t feel like continuing with metal music anymore, I had done with it all I could/wanted and Pimentola couldn´t offer more in that genre. I wanted to evolve and move forward. Who knows if Pimentola breaks its boundaries again in the future, and crosses to some genre other than what it currently belongs to... at least I don´t have anything against the idea itself. ECTONAUT: There have been several discussions concerning metal music in connection to Industrial and Dark Ambient in last months on the CMI mailing list where we both participate. It seems to me that a majority of people would like the connection between CMI and the Black Metal scene which was established due to CMI's signing of projects like Mortiis and Puissance erased. What's your opinion on this and why do you think many people within the "CMI-scene" have such a negative attitude towards Black Metal in general? LEMPO: I personally don´t have any problem with the black metal connection concerning CMI, as I am able to enjoy the occasional black metal along with Dark Ambient/Industrial etc. I think the people who can´t cope with CMI´s Black Metal connections want to keep the CMI sort of music as their own secret thing, a marginal music genre which is listened to by only a small group of people (as it still is at the moment). Also, many younger people (with maybe a little immature views and opinions) turn to Black Metal when they are searching for the most extreme music, and maybe the Industrial/etc. people don´t want these youngsters to start listening to CMI stuff, and desecrating their own "holy" music genre. And on the other hand perhaps some people connect all Black Metal to Satan worshipping, drugs and criminality, and the CMI listening people don´t want this kind of label on 'their music'. And the popularity of Black metal has also caused that many new bands appear, and many releases/bands are just pure shit, trying to sell themselves just with the image they create but the music itself is very weak, while on the Dark Ambient/Industrial genre as a whole, I think the quality of releases is much better. But these are just my assumptions on the topic... ECTONAUT: Are you still into metal music these days or are you only focusing on more experimental music? What are you listening to and what values are you looking for when you purchase music? LEMPO: Yes, I still do listen to metal every now and then. Mostly the older releases of bands like Emperor, Satyricon or Limbonic Art. Summoning (Austria) also still keep me interested with their releases. The latest good metal band I have discovered, and liked, is Rammstein. In general, I listen music from many different genres, like Industrial/Metal/Dark Ambient/Neofolk/"Medieval"/Gothic/Techno/Electronic etc. and some Classical and film scores, the list is endless! I´m quite open to different styles of music. Most recently I´ve been listening to In Slaughter Natives, Sopor Aeternus, Ulf Söderberg and Sephiroth and Dead Can Dance, to name a few. The music I purchase must have the ability to really move me, paint vivid images in my mind when I'm listening to it, and convey strong emotions. A good way to distinct good music is also that it sends cold shivers down your spine. ECTONAUT: How do you work when you compose the music of Pimentola? You told me earlier that you work quite slowly? What's the reason for this? Are you aiming for quality rather than quantity? LEMPO: Usually I just start playing an instrument (guitar or keyboard), and try things out until I have some kind of sketch of a melody. Then I start working on it until I´m pleased with it. These melodies then form together the complete songs later on. The songs/movements might also be composed so that the chords or rhythm come first, and after that the melody. Or sometimes I start hearing some tune in my head, and then I start figuring it out with an instrument. The slow composing is just my way of working. I don´t compose thousands of songs, and only use the good ones. If a song/melody is not good, I throw it away and don´t bother with it anymore and start trying to do something better. So in a way I have very strong self-criticism towards my music. And yes I do aim for quality over quantity. I´d rather create only one masterpiece album than ten mediocre ones, if I had to choose. ECTONAUT: Since the tracks on Hämärän Seppele are quite well composed, have you received any classical training in the past or are you completely self-taught? LEMPO: I have never studied music at all, so pretty much all I know about it is self learned. I don´t even read/write notes (except for guitar tabulatures), but I don´t deny that learning that wouldn´t improve my composing skill. ECTONAUT: Where do you have your musical roots and what do you think inspires you to compose the music you do in Pimentola? We spoke earlier of Kalevala; has this epic been a source of inspiration for you? LEMPO: It´s hard to say any one genre that I would have my musical roots in. I went from Punk and Death Metal to Black Metal, and then on to many different more obscure areas of music. I really couldn´t say... I´m influenced by strong emotions, and also by art. The feeling you get when discovering some great piece of art (be it music, cinema, literature, painting) really inspires me to try doing something that would have as great and unique impact on people - something that makes a difference, and leaves something of itself into the listener. Earlier Kalevala had a very strong hold in Pimentola, as we had lyrics which were inspired directly from its poems. But Hämärän Seppele, for instance, isn´t based on Kalevala, nor is it necessary for you to have read Kalevala or even have ever heard about it in order to enjoy or understand the music. Since Pimentola doesn´t have lyrics/vocals at the moment, Kalevala is more of a subconscious and underlying influence and element on the musical outcome. Some of its melancholy is reflected on the music, for sure. ECTONAUT: I read a rather peculiar answer in a previous Pimentola interview where you said that "Pimentola isn't about me, it's about the music". Could you please explain further what you are trying to say with this phrase? LEMPO: The music I make under Pimentola isn´t meant to make my name famous, or get my face to covers of magazines and so on. Its purpose is to just be music that would move something in you, mind and heart. So the most essential and important part in Pimentola is the music itself, like it should be. ECTONAUT: I have noticed that you are looking for other members in order to complete the Pimentola line-up. So, Pimentola is not necessarily a solo-project? Could you imagine bringing another composer into the project or do you want to be in total control of the song-writing process? LEMPO: Composer-wise Pimentola definitely is, and will be a solo-project. I don´t have anything against the idea of working with some other composer too, but that would be in some other band/project, not Pimentola. I´m looking for session musicians to use on my future recordings, like flutist/cellist/violinist/etc., because machines can only imitate the beautiful sounds of these instruments. ECTONAUT: In most Pimentola interviews I've read and in your info-sheet, the topic "economy" has come up and it seems that Pimentola could be so much more without the economical limits that you've been suffering from in the last years. How is the situation these days? Have you managed to get hold of the equipment you were lacking in the past, or are you still trying to raise your funds enough to obtain it? LEMPO: Well, being in a one-man band, everything is quite expensive since you don´t have anyone to share the costs with. Also I don´t know that many musicians whom I could borrow equipment and instruments from to use on my recordings. Because of lack of money, I haven´t been able to purchase a sampler or a decent sequencer earlier...and the number of the pressings of my releases has been very minimal (100 copies). Now the economical side is a little better though, because I have a job. I was recently about to buy a sampler, but it failed my needs/expectations when I had it for testing for a couple of days. But I´m about to buy another model, a better one. ECTONAUT: The paradox between the western society musician and his/her economy is a common phenomena these days. It's no secret that you have to work to get the money to buy the equipment needed to produce computer/studio music, and to earn this money you have to work and thus, you'll have less time to compose the music that you are working hard for. What is your opinion on this matter? Do you agree with me when I say that the stressed, high-tempo working-system of today in many ways has a depressive effect on the creativity of many artistic individuals and that creativity is not as much a virtue as uniformity and synchronised hard labour these days? LEMPO: I must say I do agree with you on this. When you're working, say 8 hours a day, that doesn´t leave that much time for creating art or anything... I mean, you can´t spend every free minute with your instruments and equipment, at least if you have any social contacts to keep up. Also, speaking from my own point of view, it´s impossible to choose the exact time of inspiration; it comes and passes when it wants. You might be inspired when you're at your work, but when you get home the feeling might already be gone. And yes, I think the more creative sort of lifestyle is not appreciated and supported by the society/working-system of our time in the scale it should be. It seems more important that you just work and work until you retire. One more thought about the economy/equipment thing... I do think it´s possible to create great music with very minimal instruments and equipment too. For example, just with acoustic guitar. ECTONAUT: The next Pimentola release is supposed to be a 7". What more can you tell us abou this release? When will it see the light of day and will the music still sound like it did on Hämärän Seppele? LEMPO: This 7" will most likely contain 2 songs, and be released in limited edition (obviously). At the moment it seems that the label most likely to release it will be from Finland. After the last MCD, I doubt that Pimentola will use electric guitars anymore. Also the more metal-like drum patterns are likely to be permanently replaced by more orchestral percussions, like the music on the MCD already suggests towards its end. Hopefully this 7" shall manifest itself within this year, it depends greatly of the time/inspiration I have for Pimentola. ECTONAUT: The vinyl format has really experienced a renaissance these days and what once was considered to be a dying format by many is now a highly appreciated way of releasing the more exclusive releases by the various bands in the somewhat more obscure genres. What do you think is the reason for this and why do you favour this format? LEMPO: I think vinyl appeals to people because, as opposed to the mass producing of CDs, it´s released so rarely and in smaller quantity nowadays. I´ve heard and read many people saying that the vinyl has some more life in itself than the CD, and also you have to put some effort to it before you can listen to a vinyl, like flip the side etc. The artwork of a musical release also looks much greater on a 7" vinyl, not to mention 12"! I favour vinyl myself mostly because of the same reasons of which I wrote above. But I must admit that I haven´t been a real vinyl collector for more than a couple of years now. Most of my music collection still consists of CD's. ECTONAUT: You're also to be featured on two compilations - one released by Sidekick and one released by Palace of Worms. What can you tell us about these tracks? LEMPO: The Sidekick Records compilation, Lost Illusions, features the part III from the Hämärän Seppele. Karsten Hamre, who runs the label, asked if he could use some Pimentola track on this compilation, and I agreed. The Pimentola track on the upcoming Palace of Worms compilation is an previously unreleased Outro, which I finished precisely for this compilation. It was some weeks before my military service begun that I received a mail about this compilation, so I wanted to do something before sinking in to a half year passive period. This is why the track turned out very short, but other than that I´m pleased about it myself. I´d describe this track as a Neo-Classical piece based on string orchestrations, accompanied by flute and timpani percussions. ECTONAUT: So what else does the future hold for Pimentola then? Have you got any follow-up to Hämärän Seppele besides the 7" up your sleeve or will we have to wait longer? LEMPO: A bit early to speak much of the future... But you can expect the next release to be the previously discussed 7". And after that, you´ll have to wait and see... ECTONAUT: Well Lempo, I have nothing more to ask you. End this interview in whatever way you prefer and speak out if you think anything has been left unsaid. Thanks for answering and good luck with Pimentola in the future.
(C) Pimentola
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