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Sini started surfing on the sound wave with the first European Goa Trance released in London in 1997, when she started her DJ collection at 13 years of age. Appealing to her has always been the deeper, darker minimal and psychedelic trance, that soon developed into Psytrance, which strongly modulated her musicianship. At the shift of millennium she already was part of the Helsinki underground, with a theatre, a venue downtown Helsinki and secret forest parties decorated by Tahizu and viralised through a portal called ‘Elixiria’.

With the new family and the audience emerged new artists on stage -that was the interesting time that gave her inspiration too, when the organisations supported the new styles and artists, and not only speaking about it to be lush. “These subcultural sources are cultivating serious art forms, spanning continents, radiowaves and the ether and that’s why I think we always need to continue being open to the Avant Gardé. I was raised in a family with strong cultural and radical aspect and appreciation to equality. I am a yogini since 2000, for nearly 20 years and that makes producing ‘meditative’ and experiential, which is the state-of-art today. Exploring one’s limits is the better option to ‘Psychonautism’, mind altering as well because human nature is very mystical to me. Point of a ’meditative and tribal style’ is to make people forget what truly is around them, enter in a trancelike state and share the love in a dream.
“Interestingly sub frequencies can also be used as healing modality in Ultrasonic treatments, and I believe techno also helps body and mind to revive. That is a reason to Sini Project.”

Please help your artist to get famous at a new Turkish Festival ‘Metacore’ by listening to Djane Sini -set for festival competition, share it as well everywhere you can! Link is deleted after April 2019 as competition finishes
Then on you can listen to

Avantgardistic rhythms, experimental basslines, stompable kick patterns and acidic synth arpeggios with sub frequencies appeal to her. The Finnish woman live-artist uses System 1 and Roland SH201 and software such as Logic, FL Studio, Ableton Live and sometimes a frame drum to accompany a live set… Today Sini is a Master of Arts and studied also 'Sound in New Media' & Mixing and sound synthesis with Electro acoustic music at Sibelius Academy Helsinki/CM&T.

The fourth album ‘Odyssey’ presents a multilayered approach to electronic music with a strong acoustic dimension. Supernova is an Electroacoustic album and a collaborative project with virtuoso percussionist Juuso Hannukainen of Rinneradio, the Finnish influential electrojazz group. Hidria Spacefolk ’s keyboardist plays a role too in the multilayered production method she uses, and that is typical for her state of art music today. She has produced three solo albums prior to ‘Odyssey’: Additive, Ohm and Necromancer and compiled for her label VA’s Lunar Experiment and Rebirth Experiment. Today Sini, who started with artist name Cini, is part of a collective Psy-sisters UK, having established Electrium Records 2011 with five releases (VA and Solo) and has Roland Corporation as her sponsor.

DISCOGRAPHY (distribution at Phonofile, Norway at the time of writing)
ODYSSEY (un-released)
VA 001
VA 002

What’s more essential to her is to find a label that supports her. “We Finns, really have a strong knowledge of music & engineering, too and eventually I got education in CM&T, The Center of Music and Technology in Sibelius Academy -the highest Finnish education on the field, that’s also part of my Master of Arts -degree. Design and electronic music have a lot in common in theory, and in practise writing music actually means drawing a lot in Bezier curves to me… Being a Graphic designer helps understanding IT, electricity and then again I am Butoh dancer with a creative approach to show and visuals. What everyone should know, is -‘It’s not rocket science!’, told my beloved head teacher & artist A. Bentley in CM&T, who originally is from England and who’s son then formed the prestiged ‘Suomi Saundi act’ Texas Faggott.

Sini also DJs professionally, it’s the natural ‘side effect’ on the scene. “I play CDs or mp3/USB and I mix for real, that’s the artism in DJing. I still do not use Tracktor or Serato to mash-up the art of mixing. It really makes one tick, to do it for real, and in that way be more connected to the sound.”

What mesmerised Sini into producing first minimal psytrance track (141 bpm) in 2003 and climbing onto stages later, was actually theory: “I read a guide called ‘The Basics of Electronic Music’ in London in 2003, which I accidentally bumped into at the library at London Metropolitan University, where I studied as Erasmus student. In reflection to the highly technological art form is the content: it’s evident that 80’s Yuppie Age was actually followed by a more subtle awareness, bringing in the non-materialistic and healthy paths followed by a postmodern ‘hippie’. I thought that was highly noticeable in the U.K., London and Torquay…”. That new awareness reached little piano playing Sini and she still questions herself and others through her art about the functions of music, may it be philospsohical, spiritual or anarchist.
-“I admit it’s actually harder for a woman than for a man. And that’s why I feel like a rebel within, we should get a bit more support, why could only men be technological? Also for a woman, as one would imagine, the field is somewhat physically more challenging and feels like playing for the national team sometimes: I have had to take on my back 3 weeks worth of paraphernalia across Siberia for Space of Joy Festival or once and again climb on top Pyrennees for Pirates on the most memorable gig trips I’ve made! Take it as a happy warning!”

“The challenge to promote myself also rises when my time is limited: for I have two professions, sound engineering/music and graphic design. Bigger challenge is when people cannot tell the difference between a writer and a DJ, an artist and discjockey. We women also lack support, I think which is a surprise to me actually. My calling has been especially to promote by putting up parties and get talents shared amongst the emerging sonic blooms. Historically electronic music has been ‘faceless’ and it’s also somewhat irritative if it joins the ‘idolists’.”

Education in general enable her collaboration with soloists and virtuosos such as the percussionist of ‘Rinneradio’ ( and keyboardist of ’Hidria Spacefolk’, and the ‘Nepali Hendrix’ living in Helsinki, but also she’d like more collaboration with individual producers, which happened in the past like ‘Fragletrollet’ (NO). The tracker Fruity Loops 3 was her first sequencing software and toady it’s Logic Studio Pro. Multilayering is a principal technique to arrange an electronic piece of music, which then means additive or substractive method, or both. ‘Weeding out’ also depicts more closely the processes of her sequencing of electronic music. It’s also as much fun sometimes.

How would you describe your influences and how have they changed over the years?

“My approach to the forms of psytrance are still minimal and even tribal. And electroacoustic, thus I create Multilayered music. “In Finland we are very much under the influence of Techno and I’ve been influenced by it all the time. Helsinki’s Ääniwalli being the center today we get such acts as Perc, Sven Väth, Richie Hawtin or Ricardo Villalobos on regular basis. And now I am under the influence of Acid Techno, which is the lushest sound to me at the mo!”

The key to understanding Sini’s style, and also perhaps new psytrance styles, such as Psy-tech is the ‘meditative simplicity’, chased after because ‘perfect’ baseline helps to reach states of mind non-reacheable by any other means. It's about Transformation. These ‘other means’ Ocelot, a Californian dark prog artist, now residing in Europe, calls 'substances'. They are strange to our system, we are sensitive. Zen uses a Transformational method of renunciation, present in yoga and also present in Butoh dance -a performative stage art she makes. Fundamentally forms of spirituality may encompass ascetism and modesty, practised by her Sadhu friend Swami Sanatan. 'Prana flow' is the best means to reaching a higher state of minf, and control of energy that joins us all in a universal sense. Simply put: music resonates in us.

“The only hardware or instruments I own are actually Roland synthesisers and a tribal frame drum. Most recently I got a conveniently small to carry ajour, but amazingly strong oscillators in Aira SYSTEM1, which I can use for live playing. It comes with five particular ‘Vsti’, and also forms the new technology – a ‘Plug-out’ synth. It can be used as a perfect soundcard too! Still my favourite is the first synth I’ve bought: Roland SH201 virtual-analog version of the original analog SH101 with which I mostly tweak ‘mesmerizing continuums’ via ReFX Vanguard vsti. My love in the virtual world to be honest. ‘The german Psytrance synthesiser’ expands time and convention, but does not get drivers made for the new OSXs anymore, that’s something I’d like to change, please! At the moment I have to work on two different systems on i-Mac and Powerbook to get all the wanted sound into a track. And it’s not only that, it’s about production chain needing to be ecological.”

“And you may call me paranoid, but if I cannot upload photos in Facebook feed on Previous Versions Logic Studio Pro errors to resolve a problem in production, with assistance of friends and colleagues doesn’t that mean I’m being spied on? Admitting it would be kind of an acknowledgement, but then again there are bots filtering internet constantly… Still the quality of Logic’s interface has deteriorated since Logic 8 and I think engineers and the company leader’s should be more open to collaborating with us artists and sound engineers and anyone special.”

“For the Finns forests are our church. I established Electrium Records with some support from my psychedelic grandma Sirkka (translates Cricket), who resided in the countryside all her life. Her favourite colour is blue. Sini means the colour of the sky.”

The more housebroken side of psytrance is to be so passionate about it that you jump up from the bed, without finding the time to even put clothes on and sit in front of Adam7 set-up all alone composing music until remembering to eat, sometimes around six in the evening only. You loose yourself tweaking to the elements of strongly filtered, say ‘Dub’ and ‘Goa’ that are the founding to the dualistic ‘Psy’.
“As all music still today is electroacoustic, there is a reason why virtuoso musicians should still be used. Acoustic or virtuoso touch has always defined also Electrium Records productions. I established the label as kind of reminder of my Zenist grandma, who helped me to put it up but by my side was the influential lady jazz-fusion artist ‘Costi’ Kirsi Snellman of Cymbidium Records. We worked together also with in creating a virtual studio service ‘Geisha Music’ between 2007-2011. We ranked Venture Cap 2nd (2011), and by then Beta version included an audio engine that operated Real-time, meaning it was an ‘internet sequencer’ via which one could share a session with someone from the other side of the world, and work on a track together. Unfortunately the project, even after funding of 1/4€ million by VTT & TEKES and actually because of that, got hijacked by the coding collaborant and we had to retreat.

Artist, in Sini’s opinion works so hard ‘she does not have to imitate’. After sharing years of interest with the international and Scandinavian electronic music scene, especially for Goa and Psytrance she begun making her own ‘minimalistic trance’, hybrid in 2004 at the age of 23. That was when she already had hands on Logic Studio Pro with it’s fractal features controlled by the guidance of Staffan and Jani, musicians and engineers who had both studied in SAE institute in Stockholm and who taught her everything she needed to know about Logic. The reason why her production is spectrally strong and versatile, and actually has to dynamically get ‘Limited’ on nearly every channel is her background (in Sound engineering and Techno). “It was 2006 as I started Master of Arts -studies that enabled me to learn from absolutely the best: also collagues and teachers in Center of Music & Technology, Sibelius Academy. This was because of the empowering ‘study system’ in Finland. Finnish standards, if you get approved as an JOO-student basically all Universities open for you on one go.

“I come from Finland, where in my opinion, techno influences the promising music genres. Techno brings to electronic music a pioneering experimentality and consistency in style, but then again psychedelic trance is the more influential and a bigger scene for me and in Europe and the all Tellus. Both form a kind of a tribe though. Finland especially generates interesting hybrids, new styles emerge… Sini tweaks her live sets with mixing in some of the concepts and traditions of European ’art music’, the two Post-modern schools being ‘Music Concrete’ (French) and ‘Synthesised’ (German EDM). Roland corporation from Japan, who is her sponsor is bringing in AIRA and SYSTEM1 into the live set.

“Even all the acoustic music today is produced electronically, the electroacoustic music does not need to include both the elements. I can play solo, completely virtual and I still enjoy DJ:ing.”
A background hidden in the 80’s Acid house, her bigger sister went to take care of a lama in countryside Kent as an Au-pair, brought back to her the first Acid House on a C-cassette. Through the love everything slowly became Psychedelia in a trance. At the beginning the content has always been more important than anything else.

“Someone said ‘Being an electronic musician means one has to be a theorist’. The explaining of say, how to implement a style in creating (art) is difficult and we students of applied arts are always very humble toward the process and open to fresh ideas, new artiststry. Musical elements that make say Psytrance interesting are tribal and minimalist to me, and composing includes a nearly purely eclectic methods. These core elements of ‘minimal style’ bring us to a source of a universal language I think – state-of-art music. Modern technology enables us to sculpt the psychoacoustic experiences on all spectral levels for gaining a trance and I would not let anything out of my hands that wasn’t ready for an audience today. It does not mean being a perfectionist, it means being ‘real’.”

“Music was to originally initiate dance, or perhaps to initiate the shaman’s flight. Today what surrounds us, the culture and the socio-sphere have effect on what and who is considered 'art', who is put on stage and who survives as an artist. I would not exclude, but rather have principles for inclusion to get exposed to as much as possible a variety of art forms, as the audience really decides who deserves ‘stardom’. They are on my side, and I am so happy to lift the energies as we support eachother. It’s beautiful! Nor should art be restricted to formalities such as access to education, devices and it definitely should not be restricted to having the money, funds. These days one flies between London and Helsinki with a 100 quid return, and Berlin a lot cheaper.”

What´s new right now?

Progressive is a word depictive of Goa Trance since the start. Without the endorsement of hybrids, Psytrance would never have been born. “Techno then again, in my opinion is a founding of styles of postmodern EDM, also Psytrance in a way. Techno was always a movement, just like psytrance so both are ‘tribal’. And both have high-tech approach, with virtuosity and a lot of knowledge and understanding of the technologies in the production. Though Techno may be more ‘material driven’, being often released on vinyl, thus it’s analogue, that brings a whole other realm of physicality and sound quality in it.” Sini’s style is distinguishable and it reflects a very specific psychedelic surface, in Finland. What distinguishes Sini’s waves from the rest is perhaps the method, the means she sculpts with her Roland synthesizers and with leaving space for ‘the other’. How I got a sponsorship from Roland Scandinavia located in Finland was maybe coincidence, as they were at the time searching an artist to ‘push’ Aira and System 1 technology, which really is something new. Maybe it was also about consistency, to push yourself out there.

“During years of composing Odyssey I have left a special spectral space for a percussive collaborant. Maybe it means I have only been an operator, a technician in my own project who has created a bassline and a little more, but it has given me time to learn and think and polish the sound a lot. Production also always means ‘keeping up with the Joneses’, on this case OSX operating system updates, with reader technology getting old simultaneously, needing to then update the whole production chain and vsti… I did straight at the beginning understand this, and I never got myself mixed into whole lot of different vast instruments, but learned to perfect my things with bearing in mind that ‘less is more’ as we designers say. This is why I have strong opinion on why I’d also like some of the PC Vsti to have compatibility in OSX too, such as Alien 303, and then again a universal codec is needed. Readers should be created for the new operating systems to run ‘old’ hardware, so that one doesn’t have to jettison loved ones. Space junk is awful!”

“Maybe becoming a female composer of electronic music is also ‘a jettison type thing’, meaning that one needs to sometimes close eyes and jump, for not getting scared or depressed or something. We have stage fevers, but see the future only! By letting go we also learn to improvise, which is a foundation to dance and Live playing to me. Yet electronic music is theoretical an art form, thus too challenging for many, and what is considered art should not be defined by just anyone, on wrong basis. It’ a shame that so seldomly there are stage managers who feel art and organisers who didn’t always put themselves on the line-up… To become an artist, who can conceptualize music, to materialise by Additive or Subtractive synthesis means the world at your feet. To study electronic music on a high level is also a very humblifying process. Throwing oneself to the waves is a daredevil game and to remain true and humane to the cause and to oneself makes stardom perhaps rare, but possible.”

Sini has been composing/performing electronic psychedelic dance music this far since 2004 at Siberia & Russia, Goa/India, The U.K., France, Crimea/Ukraine, Baltic Countries & Finland her home.
On the newest fourth album ‘Odyssey’ Sini is soundscaping a universal space trip with the virtuoso Juuso Hannukainen of the influential Finnish electro-jazz band Rinneradio. Sini project can be booked solo or duo, with guitarist or percussionist.



Sini tweaks her psychedelic trance live sets with mixing in different elements of intelligent EDM. Roland AIRA/SYS1 is used for improvisational performance. The live act pursues an interesting soundscape, a hybrid of techno and psychedelia close to acid techno, yet hybrid Psy-trance. A live set can be accompanied by her percussionist (Juuso Hannukainen of or ‘Nepali Hendrix’ on contract. Other collaboration with virtuosos is always interesting to her. Sini’s music always delivers a strongly experiential, sub frequency -filled ear candy. She improvises ‘space drifts’ on synthesizers, having played the piano as young. ‘The coincidence is the true artist’ as the polarities of the music untie gradually on a spectacular, visual stage presence. Roland who is her sponsor is bringing in SH2, SH-101, PROMARS, SYSTEM1 and SYSTEM100 Vsti into the live set.
Tribal and psychedelic elements have been accompanying Sini’s minimal trance all the way through her musical career since 2004. That’s when she started learning from the best at Center of Music & Technology and SAE-institute for sequencing in Logic Studio Pro. And she has a vast collection for Djing, anything can be ‘delivered’ from Acid Techno to Suomi Saundi to different niches of Psy-trance, which she loves the most.
She has also established Electrium Records, that has distribution at Phonofile including her releasing of several main artists she meets when touring, on VA’s.


Recent video for a Sini track in acid techno

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Are you a superfan of anyone? How did you become a superfan? Do you remember how you become a fan and what turned you into super fan? Have you ever thought about why you´re such a fan?

Because of the art itself


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What was the biggest mistake you made when you started making music and what would be the number one tip you could give to a newcomer musician?

I started to support and teach someone else, who then started using my network, my nexus, my knowledge and what she learned from me as a 'stepping stone'. I eventually became her stepping stone. She's doing great. I'm not being supported by her…


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How do you get gigs? Can you share any tips?

Play both Live and Dj and speak to people on the scene in Facebook, who can then recommend you to organisations and push you up a little bit.


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Do you have good promotion tips for other musicians?

Speak to people on the scene in Facebook, who can then recommend you to organisations. Meet people, go to parties and events, speak, make friends and share promo cd's perhaps!


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Do you have insights on how to grow your audience on soundcloud that you want to share with our audience?

'Name tags' are important on certain scenes atleast and they must be scene related. My first track in Logic X 'For Elisa' got really enormous amount of listeners in Techno. Psytrance scene worked with Habracadabra.


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What has been your biggest challenge right now? Have you been able to overcome that challenge? If so, how?

Negative thinking. Yes, by shifting attitudes, yet being open.


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How do you personally discover new music?


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Once you discovered new music, do you tell others about the new music/artist you discovered? If yes, how exactly?


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What is your number one tip to improve your music production or songwriting skills?

Study in a school on the field, SAE- institute is good.


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What is your best tip for those who struggle with finishing their tracks?

Study in a school on the field. Learn a production method, a right attitude, deadlines and work flow.


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We meet again in one year. What has changed?

I have found a label, and I am getting more gigs and help with releasing my music


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