The material was mostly composed in a little quiet village of a couple of hundred inhabitants where I lived in 2003-2007. I was then studying sound and music production in a nearby town. Older and newer compositions were deeply refined by the experience of the complete silence, loneliness and stillness. The hiss that finally grows from the inside is all giving, and doesn’t want anything else but to just fill everything that is with existence.
During those years I begun to contemplate the idea of harmonic noise. The original input would be taken from the reality and transformed into music by just barely noticeable action by the musician. All of the frequencies of the original noise would be extremely elongated and mixed with conscious harmonies. The new harmonic noise would then be injected to the original background noise at subliminal levels and the totality would form a slightly enhanced experience of the current reality.
The working title I had for the album, Auer/Aure, means the summer haze or is used to describe the view all the way to the horizon in a way that the scenery would fade out. Andra as a name occurred to me when I had graduated and moved away to the capital of Finland. In the neighborhood where I resided there are roads named as First, Second, Third, Fourth and Fifth line. The second line, Toinen linja, is Andra linjen in Swedish. Helsinki is a bilingual city, and the names appeared side by side. I thought the Swedish translation was funny, because besides second Andra means other and others. I crossed the street often and felt always I crossed a line of some other street, a street beyond the everyday reality. Andra also described the music well, because I now felt they were something other, the result of the process I had gone through.