Over the 12 months of the year 2015, the Greater London Authority has granted Aino Tytti unrestricted access to The Millennium Mills, a vast and decaying derelict mill site in London’s docklands. If you are a careful listener, you will have noticed that buildings all sound a little different. As the Finnish architect, Juhani Pallasmaa observes: “Every building or space has its characteristic sound of intimacy or monumentality, invitation or rejection, hospitality or hostility.” The echo of an empty house bears little resemblance to the sounds of a furnished home; the abandoned factory resonates differently to the functioning one.
In his majestic Millennium Mills composer and field recordist, Aino Tytti is firmly focused on the resonance of empty spaces, the sounds of absence, abandonment and decay. The album is the result of 12 months spent recording in the Millennium Mills, a now derelict former flour mill located in London’s Docklands precinct, with Tytti utilising conventional mics as well as geophones, hydrophones and the rebroadcast of vocals and sine tones within the space to capture its echoes, vibrations and hidden soundscapes.
The result is an extraordinary document which, given the mills are set to be transformed into a centre for start-up businesses as part of a sweeping redevelopment, may stand as the final record of the site. Many of us are fascinated by industrial ruins. They are uncanny, deeply mysterious places; sites out of time, out of step with their surroundings. In The Aesthetics of Decay Dylan Trigg writes that one of the more subversive aspects of industrial ruins is that they exist as objects ‘fallen from [their] supposed permanency’. These are failed sites, sites which have outlived their usefulness, sites which exist now only to slowly crumble away before our eyes, or so we think until one day they are shockingly gone, bulldozed in mere hours.
In his majestic Millennium Mills composer and field recordist, Aino Tytti is firmly focused on the resonance of empty spaces, the sounds of absence, abandonment and decay. The album is the result of 12 months spent recording in the Millennium Mills, a now derelict former flour mill located in London’s Docklands precinct, with Tytti utilising conventional mics as well as geophones, hydrophones and the rebroadcast of vocals and sine tones within the space to capture its echoes, vibrations and hidden soundscapes.
The result is an extraordinary document which, given the mills are set to be transformed into a centre for start-up businesses as part of a sweeping redevelopment, may stand as the final record of the site. Many of us are fascinated by industrial ruins. They are uncanny, deeply mysterious places; sites out of time, out of step with their surroundings. In The Aesthetics of Decay Dylan Trigg writes that one of the more subversive aspects of industrial ruins is that they exist as objects ‘fallen from [their] supposed permanency’. These are failed sites, sites which have outlived their usefulness, sites which exist now only to slowly crumble away before our eyes, or so we think until one day they are shockingly gone, bulldozed in mere hours.
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