After six years, Finnish multimedia artist Jan Anderzén returns to Alter under his Tomutonttu guise. Kevatjuhla, which translates as “Spring Celebration,” marks his second release for the label, as well as his first vinyl release since 2011. Jan’s impressive and colorful discography has led him through a number of scenes, such as electroacoustic groove collage, prog rock, classic indie (sort of), and neo-psychodelia.

So, you could probably guess just how ecstatic I was when I came across this gem. It even holds a special place in my heart, and my record shelf, as my favorite album of the month. Perhaps even album of the year, considering many artists that I’ve come across lately have been a non-distinctive blend of noise and amusical forms. But hey, I’m not pointing any fingers.

Anderzén is one of those artists that can occupy both a musical and artful space confidently and vibrantly on his own, with or without the addition of visual art. Although, the music of Kevätjuhla, was initially composed for a sculptural installation. “The installation was built as a listening station that sought a bond between sound, the earth, and organic matter. Sound was sent to speakers through cables sprouting like stems from a pile of dirt,” states the press release. You can read more about the project here!

Reminiscent of the sampled nature of mid-90s hip hop with a drop of trip-hop essence, Kevätjuhla is a masterpiece of comfortable curiosity, melancholic undertones, organic sounds, and groovy playfulness. One could refer to it as Herbie Hancock in the jungle, if you feel so inclined to make a comparison. What is most interesting about this record is the contour and the overall variety of tastes that are compiled into it. Throughout the rather brief eleven tracks, thoughtful melodies stitch together each piece with pulsing yet gentle bass patterns, and intricate percussion take up all ends of the spectrum. Beautifully so, the middle of the record transports you in and out of a utopian fantasy world with hints of crystal clear mysticality.

I was pleasantly surprised by every single exciting, but strange, addition to each piece. Upon my first listen, I was immediately drawn to “Operaatio satamassa,” the third track of the record, which transitions into “Tihentyvästä harpusta – Tarjous.” It’s just so damn hypnotic. The upright bass and laid-back clavinova probably have something to do with that. Marimba even sneaks its way in there! There is this balance of sub bass, pure modular sounds, and animalistic emulations that create the illusion of a synthetic rainforest. Spherical soundscapes and deep reverb-y speech take over with the entrance of “Kuinka yö.”

Without getting too deep into it, if that’s even possible at this point, the remainder of Kevätjuhla, is meditative, at the very least. My personal favorite being “Kuteen Valoon – strobon salaisuus,” which is just FLOODING in cyclic structure. We’re left with a beautiful outro that embraces the classic minimalist aesthetic, combined with Anderzén’s singularity that is oh so present here.