Ahead of a rare screening in Glasgow, the director shares his memories of filming the 90s techno documentary
18 Feb 2015
Only the few will have seen Sähkö The Movie – regarded among certain technoheads as the ‘Holy Grail of electronic music documentaries’. Rarely screened live, besides the odd special event like Sonar festival, or a night at MoMA in New York, it’s coming to Glasgow for its 20th anniversary, and a special event in the Glasgow Short Film Festival. Although many won’t have laid eyes on it, there’s a chance some Scottish readers (especially clubbers of a certain vintage) could be in the film.
Jimi Tenor, director of the 44-minute documentary, and semi-legendary Finnish techno producer turned pop/jazz musician, remembers the mid-nineties trip to Glasgow where some of the film was made.
‘Keith [McIvor, aka JD Twitch) had his club at the Barrowlands – Pure. He invited me over for that which was a lot of fun. They liked a track of mine, ‘Take Me Baby’. It reminded him of Suicide and we all liked Suicide. Anyway, they liked it and released a 12” on their label [T&B] in 1995.’ (Warp Records later re-released it, and Hudson Mohawke covered it.)
‘After that Keith and I have stayed in touch, and worked on other events like Optimo and the Venice Biennale since.’
Two decades on, Tenor’s been invited back to screen his documentary at Glasgow’s Glue Factory, and play a live set, with support from the inimitable Golden Teacher.
‘It might be quite weird for Glasgow audiences to watch,’ says Tenor of his film, shot in 16mm and newly restored digitally. ‘Some of the clothes are quite funny, and it’s interesting to see the streets, the Barrowlands, a pool hall; how the city has changed since then.’
‘It’s a bit like a road movie, or a music video; there’s very little dialogue,’ explains Tenor, who was a key player on Finnish ultra-minimalist techno label, Sähkö Recordings (sähkö means ‘electricity’), founded by Tommi Grönlund in 1993. The film follows Tenor and labelmates, the excellent Mika Vainio and Ilpo Väisänen (solo artists who performed together as Pan(a)sonic), as they share their ultra-sparse techno, weird noise music and self-made instruments with the world.
‘The quality is rough, but I think the Super 8 format is lovely. It was always supposed to be like that, but it’s not like, I don’t know … Harry Potter quality.’
‘It’s a piece of history now,’ he laughs. ‘It’s about those times, and the completely weird outfits we wore, those big plastic glasses I wore – and still wear now. The main idea behind what we were doing was to make something simple, nothing fancy. But we wanted it to be something hopefully a bit strange, and surprising.’
‘In those days the laptop thing hadn’t happened,’ he goes on. ‘We were using really heavy hardware back then. Sometimes my kit would weigh about 20 kilos. These days, flight luggage restrictions don’t even let you travel with that anymore! Back then they’d allow much more but I’d still board planes wearing three jackets, and all the pockets were stuffed with cables.’
Although Sähkö has earned cult status in some electronic music circles, Tenor stresses that a lot of the elements that fans love about the label’s sound sometimes came about through necessity, as much as design.
‘The equipment we were using wasn’t rare at the time – we just used what was cheap. Nowadays some of the bits have become really expensive, but it certainly wasn’t back then. We used unfashionable, second-hand, analogue stuff. It was a good moment for us to get hold of it – just as it was becoming out of step and they were switching gradually to new, digital equipment.
‘The main idea was that it was very simple, not complicated, so the audience could understand the system going on, and how roughly it had been made. I find often when people do stuff with laptops now, using a lot of samplers, the whole thing gets quite complicated. You listen, and it’s like, “what exactly is going on here?”. You can’t tell what was done at home, what’s happening live, when they are just pressing play … With our stuff, when something happened, you could see it happening. There was a live, improvised, noise side to what we did onstage, for sure.’
‘Obviously we wanted it to provide entertainment. It was always supposed to be enjoyable, just not in a predictable way. Now I may be a hippie with long hair, but I won’t be having an early night. I still hope to have a good party on the dancefloor in Glasgow. Of course I do – I’m still alive!’