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Release date: 11th July 2022

‘Erased Dreams’ is the first full-length, low-tempo project from Yotto. The Helsinki-based artist is well-known for his thunderous DJ sets and deep, bass-heavy house productions, but with ‘Erased Dreams’, Yotto reveals another side to himself.

The 8-track ambient album, released on Anjunadeep’s new sister label Reflections, may seem like a departure from Yotto’s usual style, but he’s always made music like this. With Reflections, he finally found a home for it.

Throughout his sparkling career, which includes a Billboard #1 LP and official remixes for artists like Joris Voorn, Gorillaz, and Coldplay, Yotto has produced ambient tracks to help him look inward and recharge his creative battery. But when COVID hit, his inner world took over. “At first, I was being really productive with club music,” Yotto says, speaking from his home in Helsinki. “But then after a while, I started making something completely opposite.” Yotto found himself exploring a different form of expression, and didn’t have a plan other than to create. But when he put the tracks side-by-side in a playlist he recognized a synergy, and the outline of the project began to take shape.

The result is more of a continuous soundscape than an album; an ethereal and dreamy experience designed to accompany the listener as they turn inward and drift away. If club music is a form of escape, then this is too – but instead of turning outward, we lose ourselves inward.

The structure was inspired by The KLF’s 1990 album Chill Out – a concept album written as a sonic journal to document the band’s road trip across America. Yotto says ‘Erased Dreams’ is structured like a journal, too, and acts as a documentation of his inner workings and sentiments during the lockdown. So it makes sense that an over-arching theme is one of repetition and continuity.

Yotto found the experience of creating this album surprisingly liberating. He spent his whole career being defined by a certain sound, and with ‘Erased Dreams’ he’s revealing how much more there is to him as an artist – a sentiment that’s reflected in the album title. “This music usually gets deleted or erased or pushed to the side because I’m focusing on something clubby,” he says. “And it all sounds very dreamy and nostalgic.”

There’s a common string tying every track in ‘Erased Dreams’ together – the same one that ties Yotto’s ambient and club productions. There’s a crispness and simplicity to his style that makes all of his work instantly recognisable and undeniably Yotto.

Club music will always be at the core of Yotto’s work, but his ambient catalog will no longer sit in the shadows. Together, these parallel forms of expression don’t dilute Yotto’s artistry; they make it even stronger.

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Erased Dreams

Under Trees

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Yotto - Under Trees

01 Marching With Lydian 1

The Flag


Kerata for Straton for 19-Division Trumpet by Coreen Morsink 
This live home studio recording predates a planned World Premiere and future professional studio recording. 

' 'Kerata for Straton' depicts a day in the life of Straton, a fictional salpinx (trumpet) player at the time of the Trojan War. Although Straton is a made up character, he is based on the fact that music was a part of life in ancient Greece and the trumpet,
or rather the salpinx at the time, was used as an instrument for armies during the Trojan War as written in Homer's Iliad. References to music making are not frequent in the Iliad but even Achilles, when not fighting, sits with his friend Patroclus and plays the phorminx. In this made up story, all Straton, wanted in life was to enjoy playing the trumpet and to play instruments like the phorminx, kitharis, lyra and other instruments at happy events but he was forced to play salpinx commands in the army. Generally of good humour, Straton carries on after witnessing the horrific carnage of war
as well hearing of the sorrow of Achilles upon receiving the news of Patroclus' death. From this experience, Straton decides to become a bard and relay the sadness of the war through song and the playing of the kitharis and lyra.
Note about the title: Kerata means 'horns' in Greek and animal horns were used in ancient Greece as musical instruments (and thus the word). Straton was a boy's name in ancient Greece and is related to the word 'stratos' στράτος which means army.' (C.M.)
Quotes
"...what satisfaction can I get from that, now that my closest friend is dead, Patroclus, who was more to me than any other of my men, whom I loved as much as my own life?" Iliad by Homer-XVIII.65
"Clear as the trumpet's voice when it soundeth aloud beneath the press of murderous foeman" Iliad by Homer- XVIII.219

https://coreenmorsink.wordpress.com/about/


Kerata for Straton for 19-Division Trumpet (2024) by Coreen Morsink

Performed live by Black Box Ensemble, November 23 2024 at Church of St. Luke and St. Matthew, NYC.
Tyler Neidermayer, Recording and mixing engineer

Leonard Bopp, conductor
Annie Nikunen, flute
Tyler Neidermayer, bass clarinet
Lauren Conroy, violin
Jordan Bartow, cello
Yifei Xu, keyboard
J Clancy, pecussion

Originally commissioned by Ensemble Paramirabo. 

ABOUT
“Stygian pulse” (2023) refers to a chronic throbbing pain in my left shoulder and neck that I have been experiencing for over ten years. It is shapeshifting in its colour and intensity and even its sonic properties, but most days it is an inky, dark, and dull recurrence. The normal medical routes for pain relief have proven ineffective beyond a temporary period.

While the pain doesn’t majorly inhibit any of my daily activities, my inability to alleviate it has
created a sort of “settling:” the pain has become mundane, foreverhere – unpredictable in its exact rhythm or temperament, but with a certitude that it will return, beating darkly. As a feature of my body for over a third of my time on Earth, I’m quite sure it’s here until the end. My stygian pulse – tiny focused outbursts until I die.

Stygian Pulse (sextet + electronics)

The opening extract from Eos and Tithonus for chamber orchestra by Coreen Morsink, played by the Orchestre national du Capitole de Toulouse conducted by Bruno Mantovani, September 13, 2024, Recording produced for France Musique, at the Auditorium Saint-Pierre-des-Cuisines, Toulouse, France as part of the Finals of the Unanimes! Composition Competition.

Full Score available from the Canadian Music Centre at: cmccanada.org/shop/81836/
Full Recording of the work and the Unanimes! Concert at: www.radiofrance.fr/francemusique/p…an-2024-6161552

Opening extract Eos and Tithonus for Chamber Orchestra by Coreen Morsink L'orchestre national du Capitole de Toulouse conducted by Bruno Mantovani

“Meadows of Heaven” (2025) is inspired by a poignant excerpt from Longfellow’s Evangeline (1847). 

During the summers of 2021 and 2023, moments at my daughter’s Cape Egmont cottage on Prince Edward Island—set against the vast Atlantic Ocean—ignited my fascination with Acadian history and literature.

Drawing from these inspirations, the work incorporates these stirring lines from Evangeline:
“Silently, one by one, in the infinite meadows of heaven, blossomed the lovely stars, the forget-me-nots of the angels.” I have experimented with harmonies and textures to create a celestial and ethereal mood.

Though Longfellow was not Acadian, his epic narrative vividly recounts the journey of Evangeline—the Acadian girl in search of her lost love, Gabriel—amid the poignant backdrop of the Acadian expulsion. The demo recording, performed by the Rocky Mountain Chamber Choir, captures a timeless, otherworldly atmosphere, inviting listeners to a realm of reflective twilight and transformative moments.

Perfect for programming in reflective, twilight settings or themes of winter, rebirth, renewal, hope, and transformation.

www.gerdablokwilson.ca


Meadows of Heaven 2 (BLOK-WILSON)

Caprice for solo cello performed by Bryan Holt

Caprice for unaccompanied solo cello

"Insects and Machines" 
Commissioned by the Red Bank Chamber Music Society 
World Premiere:  American String Quartet, May 5, 2019 in Red Bank, NJ

String Quartet No. 4 (2019)

I wrote this piece while watching the ravens play on our roof in Igloolik, Nunavut.
This piece has been describes as "Klez-Breton" as it uses Klezmer scales over top of Cape Breton style fiddle chording. 
The contemporary Inuit throat singing perfectly conveys the mischievous and other worldly nature that the raven evokes.

Gina Burgess-Ravens On The Roof

I wrote this piece for Delilah Saunders after her sister, Loretta was murdered in K'jipuktuk/Halifax, Mi'kma'ki/Nova Scotia.
This piece is for all the families and friends of murdered and missing Indigenous women and girls.
It's about searching and moving through grief. 
Since writing and posting this piece, Delilah herself has passed and I am moving through my own/collective grief.
I share this piece in D's honour and love.

Gina Burgess- For D

Coreen Morsink is a Canadian/Greek composer focusing on music springing from ancient Greek sources as well as unusual tuning systems. Her pieces use compositional techniques which combine old and new with explorations into microtonality, multiphonics and extended techniques.

Opening extract Eos and Tithonus for Chamber Orchestra by Coreen Morsink L'orchestre national du Capitole de Toulouse conducted by Bruno Mantovani

Coreen Morsink

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