The former allowing him an open approach to construct micro-worlds of seemingly aleatory, decaying washes of noise and frosty ambience mixing with moments of propulsive tension. Working closely with Jonas Struck for Borg vs McEnroe, Sasu presents a lighter, more string-based repertoire. Again, he proves an acute ability to convey contrasting moods through composition. Within Ripatti’s work, one can trace a desire to bridge the contrasting strands of sound he is versed in and present them in a manner that is intelligibly his own. Recording with modern classical composer Craig Armstrong in 2009, he explores his early jazz percussion days in a collaborative sense, multi-layering drums with piano, clarinet and saxophone. His debut Luomo album ‘Vocalcity’ (2000) ranks amongst Pitchforks highest ever rated long players, scoring a 9.7. His is a workflow concerned with reinventing itself, Ripatti himself noting the long-standing challenge to continually create something new and not tread old ground.

Sasu continued working throughout the next decade as a member of the Moritz von Oswald trio, opting to explore the percussive textures of metal instruments, congas and items from the ‘otherworld’. Further studio sessions in Jamaica with Sly & Robbie cast Sasu in a different light, allowing for a unique fusion of nyabinghi drums and bass frequencies with the industrial glitch and noise atmospheres mixed back in Ripatti’s home island of Hailuoto. Working from behind the desk on an album by Finnish-Ethiopian singer Mirel Wagner, Sasu’s approach to production combined with her vision of contemporary blues saw them win the 2014 Nordic Music Prize. The consistency of both his collaborative projects and solo endeavours has led to a strong fanbase and a musical relevance devoid of quick fashions or trends.

Decades of sound studies, improvisation and partnerships nurture his creative approach to original scores.