Podcasts about tuomas rounakari

Tässä jaksossa Havuhatun vieraaksi saapuu shamaaniviulisti Tuomas Rounakari. Hän on muusikko, tutkija ja tarinankantaja, joka on kulkenut polkua kohti esi-isien ääntä niin arktisten alkuperäiskansojen parissa kuin suomalaisen mytologian ytimen äärellä. Keskustelemme siitä, miten musiikista voi tulla enemmän kuin sävelten sarja. Voiko musiikki olla rituaali, rukous tai jopa parantava voima? Millaisia viestejä ja näkyjä voi kantautua viulunjousen mukana? Miten esiintyminen muuttuu ihmisen kasvaessa lapsuudesta aikuisuuteen? Jaksossa pohditaan myös esiintyjän roolia rituaalissa, kehon ja soittimen välistä yhteyttä sekä intuitiivisen luovuuden tilaa, jossa tekijä on yhtä teoksen kanssa. Tuomaksen verkkosivut: https://rounakari.com/ Sipoonjoen perinnesauna: https://saunotus.fi/ Terve Löyly -saunottajakoulutus: https://saunakoulutus.fi/ Sauna Healer Training: https://saunahealer.com/

While music is a major part of all of our lives, seldom does an artist aim to create music that resonates on more than a universal plain.Music is, and always will be, a form of expression. It is an outlet, a comfort, and a guiding force that touches each of us on different levels.On those rare occasions when an artist delves deeper into the spiritual side of their craft they are more often than not shunned by the fans and their peers. The general consensus that if you have to stop and think too much about a body of work it loses much of it's impact is understandable, but also incorrect.Often the more you allow yourself to be swept up in music, the deeper it moves you, but when an artist sheds all of their inhibitions and focusses on things of a more personal nature they are far too often pushed to the side in favour of more accessible songs.Which is understandable, but also a tragic waste of emotion that could never be replicated in a song that is produced for mass consumption.Tuomas Rounakari, better known for his work on the violin in Korpiklaani, has recently completed a journey into his personal history and that of his native Finland, packaging his findings into a unique and beautiful body of work titled Bear Awakener.It is a labour of love that Rounakari has dedicated more than a decade to by way of research, composition, and, more importantly, conversing with and learning from a range of people who know and appreciate the world he is trying to portray.It is more than a collection of stories woven together to tell a tale from one mans viewpoint. It is a case study of history and mythology that is accentuated further by the addition of traditional instruments, all of which Rounakari learnt to play himself in order to add authenticity to the album.HEAVY caught up with Rounakari to talk about Bear Awakener in an interview that covers so much ground we have decided to separate it over two parts to allow the full magnitude of the journey to sink in."This has been a massive project,” Rounakari affirmed. “It's been 13 years since I released my first solo album, and also I have been active with performing it all over. There never was a place to do another solo album. For the past ten years I have been saying next year. Next year I will do the next solo album. For over ten years it was always the next year. There were a lot of reasons why it took so long, but to be here now and sending the first pre-orders out is pretty amazing to come to this point finally where it gets out to the world."Bear Awakener shows Rounakari at his purest musically. It is a departure from the sounds and mass appeal generated by Korpiklaani, focusing more on a market that appreciates music as an artform rather than a medium that is more accessible and produced for the masses.It is an album that may not appeal to the broader musical market, but Rounakari stresses again the fact that it is that market that he is trying to avoid."I think one of the reasons why it took so long was I haven't been happy with the state of affairs in the music business for a long time,” he sighed. “I feel awfully silly that we are in a situation where the industry supports us to create music and give it out freely in hope of reaching tens of millions of people. Not even millions of people, but tens of millions. I miss the times when you would put money in an envelope and send it to Sweden and hope that an album will come back in return. I miss the anticipation and it wasn't self evident that you would get to hear the album you want to hear. I miss the difficulty that actually created value to things. For me I started thinking that the music I am doing in my solo is not even a niche. It's more than a niche. It's a lonely guy playing an acoustic violin out of tune, out of tempo (laughs) based on ancient songs that Shaman's were singing in Siberia over 100 years ago. It's way out there. I have to ask myself, does this music want to be out there at all? How do these songs want to be in the world. do they want to be on playlists/ How are those kind of things? At the same time that I have been playing with Korpiklaani and going towards bigger and bigger audiences, I found that I get more satisfaction for myself when I play to 20 people in the middle of the woods. Somewhere beautiful where people come just to hear those songs and be in that music. They don't have any other plans going on or getting pissed drunk or finding the next ex wife, so all of this got me thinking of doing things differently again. So instead of aiming to get y music in front of tens of millions f people who aren't genuinely interested, I wanted to make an album that only a few people will want to have, but it means so much to them that they are willing to pay 100 euros for. That was the way out for myself and put value back into the music in a new way... or I should say in an old way, so that there is anticipation towards it; there is respect towards it and an understand that this isn't a click right, click left affair. Of course, with these kinds of decisions you are on your own. There's not many labels out here who will support you or say great, you are going to release an alum for 100 people (laughs). That's the thinking behind this. I feel that these songs are sacred. They are not sacred in a Christian way which is like I want everybody to sing and praise the Lord in the same way. They are sacred in almost intimate way and also in a way that probably doesn't want to be out there in the open."In the first part of the interview Tuomas talks about the journey from inception to completion, the meaning behind Bear Awakener, how much research went into making the album authentic, the mystique and beauty of the bear in Finnish culture and more.

While music is a major part of all of our lives, seldom does an artist aim to create music that resonates on more than a universal plain.Music is, and always will be, a form of expression. It is an outlet, a comfort, and a guiding force that touches each of us on different levels.On those rare occasions when an artist delves deeper into the spiritual side of their craft they are more often than not shunned by the fans and their peers. The general consensus that if you have to stop and think too much about a body of work it loses much of it's impact is understandable, but also incorrect.Often the more you allow yourself to be swept up in music, the deeper it moves you, but when an artist sheds all of their inhibitions and focusses on things of a more personal nature they are far too often pushed to the side in favour of more accessible songs.Which is understandable, but also a tragic waste of emotion that could never be replicated in a song that is produced for mass consumption.Tuomas Rounakari, better known for his work on the violin in Korpiklaani, has recently completed a journey into his personal history and that of his native Finland, packaging his findings into a unique and beautiful body of work titled Bear Awakener.It is a labour of love that Rounakari has dedicated more than a decade to by way of research, composition, and, more importantly, conversing with and learning from a range of people who know and appreciate the world he is trying to portray.It is more than a collection of stories woven together to tell a tale from one mans viewpoint. It is a case study of history and mythology that is accentuated further by the addition of traditional instruments, all of which Rounakari learnt to play himself in order to add authenticity to the album.HEAVY caught up with Rounakari to talk about Bear Awakener in an interview that covers so much ground we have decided to separate it over two parts to allow the full magnitude of the journey to sink in.Part 1 covered the journey of the album and the research and attention to detail. Part 2 takes you even deeper into the process and the path to completion.Unlike Rounakari's first solo album, Bear Awakener is void of lyrics, instead focusing on sounds of nature and instruments to convey its message."This time I didn't sing at all,” he affirmed. “I was supposed to but somehow this album wanted to be like this. There are some bird sounds there that were recorded by a good friend of mine so were together and watching the cranes migration and we did recording there so there are some swans and cranes that are both sacred animals in the mythology of Fins and the Khanty, so the birds kind of kick the album off and end it. In the meantime there's only a violin and ning-juh.”Rounakari is quoted in the press release as saying Bear Awakener is akin to a shamanic journey, a point he stresses further here."There's an opportunity for the listener to listen to the album as a journey,” he explained. “Of course it is a collection of songs, as an album is, so a lot of these songs were really long in the first place. The first track is done out of a version that has over 300 versions. This is a curious thing because phonographs don't have that much space. In the phonograph recordings they usually last less than three minutes and to gather as much information as possible they usually record it only one minute of one song into these wax cylinders. Then you have these texts that go on for ages and it's known that these singers might have been singing these songs for hours, this one song. They have a saying about a good singer. A good singer has a golden throat, which means that it's very easy to fall asleep listening to their voice. This is interesting because fall asleep is actually a reference to an altered state of consciousness. You access a place of relaxation where your imagination opens up and you start to experience things in another reality than that of an awakened person. That is a big theme. I think these songs have this kind of... they are based on repetition. There's simple motifs and simple melody structures that keep on repeating but not quite the same way. You get to learn it easily but then it's alive. It changes. It keeps moving all the time. It's kind of a landscape music rather than dance music or hit songs. It's more like a place to be when you listen. The album versions are a little bit short in that respect that you would go on a deep journey. But I have aimed to create a piece that you can actually stay in a specific state of mind while listening to it, although it has eleven songs and goes from one place to another and has a lot of different moves in it. Maybe one of these days I will publish a 45 minute version of some of these songs."In the full interview Tuomas talks more about the bear and how it relates to Finnish mythology, the Khanty and Mansi people and their spiritual connection, the limited edition pre-order packages and what they contain, making Bear Awakener as authentic as possible and more.

In this episode, we are joined for the second time by Tuomas Rounakari of Shamanviolin and Korpiklaani. We discuss his upcoming projects, then discuss shamanism and the pre-Christian grief ritual known as laments.  For an introduction to Tuomas and his work, see our first interview with him here: Interview with Tuomas RounakariTo connect with Tuomas and find more information about his work and projects, visit his website.To attend the Korpiklaani livestream concert on August 29, 2020, visit https://korpiklaani.live/ This is the Northern Myths Podcast, an archetypal exploration of the myths and legends of Northern Europe, including Norse mythology, the Finnish Kalevala, and more. If you'd like to support the show you can support us on Patreon here: Northern Myths Podcast Patreon Check out our YouTube channel for videos of all episodes and interesting clips of the show: Northern Myths Podcast YouTube Channel Check out Grimfrost for our favorite source of authentic viking merchandise and modern apparel inspired by the viking age and Norse mythology! Our intro and outtro music is Takk from the album Sagnamadr by Folket Bortafor Nordavinden. Check the album out on Spotify, and you can purchase from Grimfrost.com or Amazon.  If you'd like to follow along with us or learn more about the ideas we talk about on the show, we have a list of recommended books on our website. Included are our recommended copies of the Poetic Edda and the Kalevala, as well as books about archetypal narrative, comparative religion, and more: Recommended Books You can find us on Facebook, Twitter, and Instagram:FacebookTwitterInstagram You can also email us at northernmythspodcast@gmail.com

"I think our in our audience there's been more of a shift", measured Tuomas Rounakari, fiddler for Finnish folk metal superstars Korpiklaani when asked on what has changed with the band since their last visit to Australia five years ago. "We get more girls at the shows - we are coming close to 50% - which is unusual for a metal band. I would say our path is getting bigger and better".For the first time in their history, Korpiklaani have also had an extended run of the same members, with Tuomas admitting the momentum generated by having the same group of musicians is invaluable."This is kind of like praising myself", he laughed, "but that is what has changed (while the line-up has remained the same). The folk in the folk metal has changed entirely. Myself on the fiddle - and I joined in 2012 - and a year later Sami (Perttula) came to the accordion and by now this has really changed the sound so that the way we do the folk together is actually folkier than it was before. You can definitely feel that difference on our albums. I think Noita was our first album where the balance between folk and metal was really good where the both genres were constantly present and it affected the overall album. Now with the Kulkija album we've gone even a bit further. The folk instruments are played in a more folkier style than before and I think it has made us better musicians. We listen to each other better, we react better and I think we are truly developed as a band".In the full interview Tuomas discusses the Australian tour and what Korpiklaani has in store for fans, touring schedules and how travel and jetlag can affect you, the reception to last years Kulkija album, how they integrate songs from that album into the setlist, how song lengths and amount of songs influence an albums direction, being labelled folk metal superstars and more.

"We don't plan ahead ever too much what we do. We're quite a random group of random people doing random things," laughed Tuomas Rounakari, violinist for Finnish folk metal band Korpiklaani, "but these demos were done pretty quickly and Jonne (Jarvela, vocals) wrote most of the songs and then we did the arrangements together. There was no plan or fixed goal but as we worked on the demos it just revealed itself that 'Kulkija' - which means wayfarer or wanderer - appears in all of the songs more or less so we didn't have a concept album in mind but at the end it feels like all of the songs are told from the travellers eyes and witnessed by the travellers eyes. That happened in the studio, all of these realizations, and that's quite common for us."In the full interview Tuomas discusses the latest album in greater detail, including the story behind the ten minute epic 'Kallon malja' and how difficult it is to maintain musical intensity in a song of that length, the use of a children's choir in 'Sillanrakentaja', how the band transformed from a folk band into the current metal-laden sound, the possibility of an Australian tour and more.

Tuomas Rounakari (Korpiklaani). Andrew and Tuomas discuss Kulkija, the bands new album for 2018 and Finlands indigenous culture.

We are joined by Finnish ethnomusicologist Tuomas Rounakari. He is perhaps best known for his one man musical project Shamanviolin and as the violin player of folk metal band Korpiklaani. We discuss his work with the Khanty people of Western Siberia, his many projects, his experience with shamanism, and much more. Tuomas' websites:http://www.shamanviolin.fi/ http://rounakari.com/ Korpiklaani:http://korpiklaani.com/ Henkselipoika (video mentioned):https://youtu.be/ZB7PyLYQyXg This is the Northern Myths Podcast, an archetypal exploration of the myths and legends of Northern Europe, including Norse mythology, the Finnish Kalevala, and more. If you'd like to support the show you can support us on Patreon here: Northern Myths Podcast Patreon Check out our YouTube channel for videos of all episodes and interesting clips of the show: Northern Myths Podcast YouTube Channel If you'd like to follow along with us or learn more about the ideas we talk about on the show, we have a list of recommended books on our website. Included are our recommended copies of the Poetic Edda and the Kalevala, as well as books about archetypal narrative, comparative religion, and more: Recommended Books We also have Northern Myths Podcast merchandise available at our official shop. You can find us on Facebook, Twitter, and Instagram:FacebookTwitterInstagram