Tin Man’s acid flashbacks

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Tin Man’s acid flashbacks

25 May, 2010 | 3.33AM

Written by: Beatportal
Filed under: Music News: acid, keys of life, tin man

In his new “Freak Scene” column, the Fader’s Jamie Johns explores the work of Tin Man, aka Johannes Auvinen, declaring it “guaranteed to amplify any and all experiences.” That’s a grand claim, but it’s also a pretty spot-on assessment of Auvinen’s eerie retro-futurism. Tin Man’s is a different kind of minimalism, one that uses skeletal machine beats and acid squiggle as the backdrop for gothic-tinged electro-pop.

You can hear echoes of Kompakt and Dial (plus of course Chicago house) in his music, but Tin Man’s claustrophobic atmospheres are his alone, especially on vocal cuts like his remix of Larissa Kapp’s ‘Lost Piano’.

Larissa Kapp, ‘Lost Piano (Tin Man Remix)’

Tin Man’s most recent release on Beatport is a fine remix of Audison’s ‘Interlude’ for the andmusic label—appearing alongside quality reworks by John Roberts, Arne Weinberg, Unitary, and Contra Communem—and he’s got a vinyl-only LP just out on the White Denim label. (Click here for a free MP3 off the new album, courtesy Little White Earbuds.)

Audision, ‘Interlude (Tin Man Remix)’

And don’t miss Tin Man’s great 2006 releases for Sähko‘s Keys of Life sublabel, ‘Love Sex Acid’ and ‘Keys of Life Acid’. Moody, lo-fi, and not a little bit otherworldly, they’re as elemental as their titles.

Tin Man, ‘Tip the Acid’

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In his new "Freak Scene" column, the Fader's Jamie Johns explores the work of Tin Man, aka Johannes Auvinen, declaring it "guaranteed to amplify any and all experiences." That's a grand claim, but it's also a pretty spot-on assessment of Auvinen's eerie retro-futurism. Tin Man's is a different kind of minimalism, one that uses skeletal machine beats and acid squiggle as the backdrop for gothic-tinged electro-pop. 

You can hear echoes of Kompakt and Dial (plus of course Chicago house) in his music, but Tin Man's claustrophobic atmospheres are his alone, especially on vocal cuts like his remix of Larissa Kapp's 'Lost Piano'.
In his new "Freak Scene" column, the Fader's Jamie Johns explores the work of Tin Man, aka Johannes Auvinen, declaring it "guaranteed to amplify any and all experiences." That's a grand claim, but it's also a pretty spot-on assessment of Auvinen's eerie retro-futurism. Tin Man's is a different kind of minimalism, one that uses skeletal machine beats and acid squiggle as the backdrop for gothic-tinged electro-pop. 

You can hear echoes of Kompakt and Dial (plus of course Chicago house) in his music, but Tin Man's claustrophobic atmospheres are his alone, especially on vocal cuts like his remix of Larissa Kapp's 'Lost Piano'.

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