Vladislav Delay is the most frequently used pseudonym of Finnish drummer an… Read Full Bio ↴Vladislav Delay is the most frequently used pseudonym of Finnish drummer and electronic musician Sasu Ripatti (born in Oulu in 1976) who has also recorded as Luomo, Sistol, Uusitalo, Conoco, and Ripatti. As well as his own albums, he played drums and percussion in the Moritz von Oswald Trio from 2009 until 2015, and, in 2011, released an album with his own experimental jazz/electronic group, the Vladislav Delay Quartet.
Known for uniquely distorted takes on a variety of electronic music, his signature sound is often infused with elements of dub, pop and ambient experimental sounds. It combines arrhythmic structures with aleatory elements and sensual, layered textures.
Born in remote Oulu, northern Finland, in 1976, Ripatti grew up steeped in the classical music and jazz that his literary parents loved. His early training as a percussionist is now transmuted - endlessly reinterpreted and twisted into new forms while retaining a fundamental rhythm orientation. By the mid-90s, Ripatti had begun incorporating electronic elements into his various band performances as he gradually taught himself to use samplers and drum machines through experimentation. Eventually, he found more satisfying results could be achieved going solo with his equipment than staying with any band, so he sold his elaborate acoustic kit and went underground to work on music in seclusion.
Ripatti’s earliest releases were via his Vladislav Delay project. He began playing live in Helsinki in the late 90s, with one of the performance recordings becoming the first Vladislav Delay release, “A Kind of Blue”. It was named in tribute to the classic jazz Ripatti grew up with, revealing his formative infuences and respect for the genre that remains his deepest love. The musical approach he used found a sympathetic home on Berlin label Chain Reaction, and from 2000 Ripatti went on to produce some of their most classic records.
His forte is the rhythm, even if so subtle at times. In fact, he may as well still be classifed as a “percussionist” rather than an electronic musician despite the fact that that is how he mostly generates his sound and music, because it is the beat and its possibilities which lie closest to his heart, which further serves to explain why he has experimented with it from so many different musical angles.
Ripatti uses Vladislav Delay to excavate new territory slowly and deeply, constantly striving to uncover fresh terrain on which to collapse and rebuild his delicate structures. Through Delay, Ripatti continually challenges himself to maintain his own personal sonic integrity – wary of much programmed ‘electronic’ music, he forges his own path.
Ripatti has worked with a wide range of artists including Craig Armstrong, Scissor Sisters, AGF, Black Dice, Massive Attack, Towa Tei and Ryuichi Sakamoto. He has released music on small independents, major labels and his own imprint since 1997. After seven years of living and working in Berlin, Germany, he relocated to an island of Hailuoto in northern Finland.
Ripatti played drums and percussion in the Moritz von Oswald Trio alongside Moritz von Oswald and Max Loderbauer from 2009 until 2015, when he was replaced by Tony Allen. With the Moritz von Oswald Trio he released two albums and a live LP. He has also released an album in 2011 with his own experimental jazz/electronic group, the Vladislav Delay Quartet.
Known for uniquely distorted takes on a variety of electronic music, his signature sound is often infused with elements of dub, pop and ambient experimental sounds. It combines arrhythmic structures with aleatory elements and sensual, layered textures.
Born in remote Oulu, northern Finland, in 1976, Ripatti grew up steeped in the classical music and jazz that his literary parents loved. His early training as a percussionist is now transmuted - endlessly reinterpreted and twisted into new forms while retaining a fundamental rhythm orientation. By the mid-90s, Ripatti had begun incorporating electronic elements into his various band performances as he gradually taught himself to use samplers and drum machines through experimentation. Eventually, he found more satisfying results could be achieved going solo with his equipment than staying with any band, so he sold his elaborate acoustic kit and went underground to work on music in seclusion.
Ripatti’s earliest releases were via his Vladislav Delay project. He began playing live in Helsinki in the late 90s, with one of the performance recordings becoming the first Vladislav Delay release, “A Kind of Blue”. It was named in tribute to the classic jazz Ripatti grew up with, revealing his formative infuences and respect for the genre that remains his deepest love. The musical approach he used found a sympathetic home on Berlin label Chain Reaction, and from 2000 Ripatti went on to produce some of their most classic records.
His forte is the rhythm, even if so subtle at times. In fact, he may as well still be classifed as a “percussionist” rather than an electronic musician despite the fact that that is how he mostly generates his sound and music, because it is the beat and its possibilities which lie closest to his heart, which further serves to explain why he has experimented with it from so many different musical angles.
Ripatti uses Vladislav Delay to excavate new territory slowly and deeply, constantly striving to uncover fresh terrain on which to collapse and rebuild his delicate structures. Through Delay, Ripatti continually challenges himself to maintain his own personal sonic integrity – wary of much programmed ‘electronic’ music, he forges his own path.
Ripatti has worked with a wide range of artists including Craig Armstrong, Scissor Sisters, AGF, Black Dice, Massive Attack, Towa Tei and Ryuichi Sakamoto. He has released music on small independents, major labels and his own imprint since 1997. After seven years of living and working in Berlin, Germany, he relocated to an island of Hailuoto in northern Finland.
Ripatti played drums and percussion in the Moritz von Oswald Trio alongside Moritz von Oswald and Max Loderbauer from 2009 until 2015, when he was replaced by Tony Allen. With the Moritz von Oswald Trio he released two albums and a live LP. He has also released an album in 2011 with his own experimental jazz/electronic group, the Vladislav Delay Quartet.
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⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻⸻
atleast 1 time per year I come here again
especially at end of the year, only me?
or in winter time.. it's so special. x
lowercase
Honestly I don't want this to stop..
Istvan Toth
the very essence of the early V. Delay ... after many years, still amazes me how minimal it sounds first, but actually how rich this music is ...
Vanez Polyansky
I hate to say this and I almost don't want to believe in this statement but I think this track has saved my life in a time when no other "too musical" music could. hours and days of listening, walking, and trying to clear the mind...
GC
vnz woah! I used to use this track for the exact same thing! Back around 2004 i would listen to this wherever i went, helped to take the edge off the world, and yes, not "too musical"!
That's crazy this track has had the exact same purpose for someone else!
Peace
Vanez Polyansky
@GC damn brother! the world is rounder than we think huh? we're all pretty much the same that's what I was thinking about lately..
beincheekym8 ?
I live for these kinds of soundscapes
Eyal Ronen
I have this CD. a masterpiece imo
PP2
Love the tone changes in the bass.
Paweł
This is not music. This is meditation....Headphones and one hour trip in winter with this track by the mountain forest.