Interview: Orkidea
In the first generation of trance DJs, this artist truly stands out. As a forward-thinking producer, he fearlessly embraces the evolution of electronic dance music, drawing inspiration from a variety of styles and artists. Last year marked a significant milestone for Orkidea as he celebrated 30 years as a DJ. Despite enjoying his time tinkering with music equipment in the studio, Tapio decided to make it special. He organized a massive event in Helsinki, playing a continuous set for 30 hours straight to celebrate with his fans. This truly highlights his deep love and dedication to music.
Orkidea is well-known for his dreamy melodies, catchy beats, gradual build-ups, and seamless music progressions. However, not everyone knows that Tapio’s musical journey began by hosting underground parties in Finland during the ’90s. “In the morning, when it was almost 10 AM and the party was winding down, we played a relaxed but emotionally uplifting breakbeat to ease the vibe as the sun was rising,” Tapio once shared with me.
It was natural for me to want a quick chat with this Finnish artist and the Luminosity event was a perfect moment to do so. When I ran into Tapio, we started talking about the early 90s, the “Techno Rave” era, key moments in his career, and the Pure Progressive movement with Rich Solarstone. We also discussed the possibility of a new album and the inspiration he still discovers after all these years. You’ll find more in the interview below, so keep reading!
Nina: We can say you come from the first generation of trance DJs. So obviously you witnessed the evolution of electronic dance music, not only trance. Your open-mindedness towards different genres and your ability to find inspiration in various styles and artists have shaped your perspective. Now, considering the current state of music do you think there’s too much music being made these days, and does it affect the quality? Or do you believe creativity is thriving?
Tapio: There is definitely many different sides to this. In the past, not everyone could go to a studio to make high-quality professional recordings, so it felt special if you could do it. Now, with technology everywhere, it’s not as unique, and there’s a lot more music, even if some of it isn’t great. But the cool part is, now anyone can make music, everyone can be a creator. You don’t need expensive equipment. And I think that’s a beautiful thing.
The downside is, that with so much music coming out, things change fast. Songs don’t last as long. Before, a song could stay popular in clubs for a while. Now, everything moves quickly, partly because there’s just so much music being released all the time. I think at the moment around 100,000 songs are released on Spotify every day. There were good things in the old times, and there are good things now too.
Nina: It’s evident that you have drawn significant influence from a diverse range of artists, including PvD, Paul Oakenfold, Solarstone, Sasha, John Digweed, Solomun, and others. However, I’m curious about the specific moment, track, or artist that served as the catalyst for your journey into DJing and, eventually, producing trance music.
Tapio: It’s pretty easy for me to pick a couple of really influential songs. First off, there’s “Fine Day,” which I heard on the radio when I was around 14 or 15. It’s kind of a pop record, but it has electronic and trance-like qualities, and I just fell in love with it. That one was a turning point for me.
Then, there’s the Jam and Spoon remix of “Age of Love.” When I started DJing, everyone in Finland was into techno. But as melodic techno and club songs got called trance, this record became a defining moment for me. It’s still a powerful track that holds a special place for me.
Lastly, there’s Sasha’s “Expander.” I consider myself playing a mix of progressive trance and progressive house, and this record perfectly blends atmospheric, melodic, and trancy elements. Even now, these three records continue to inspire me.
Nina: Could you share that exact moment, artist, or track, whether it originated from within the realm of EDM or outside of it that triggered you to dive into this crazy world?
Tapio: I used to be part of a group taking over houses for parties. One time, we ended up in a squat house in a different city during a big event that included all sorts of activities. There was a specific room for raving, and that’s where it all clicked for me. I had heard rave music on the radio, but experiencing it in person with the continuous flow of music, smoke, lights, and videos was a game-changer. It was a moment that transformed my life.
After returning home, we decided that organizing raves was what we wanted to do. We didn’t know much about it, but we just started doing it. I was only 15 at that time, and we were determined to be a part of the rave scene.
Nina: You have a clear affinity for dreamy melodies, hypnotic beats, slow build-ups, and continuous and harmonious progressions in music. However, if I were to challenge you to identify a style, genre, or overall vibe that best describes your musical being, excluding progressive trance, what would it be and why?
Tapio: I’d describe my music as both emotional and driving. It’s a mix of drive, groove, and emotion in the melodies, with a bit of a cinematic quality. Combining these elements isn’t easy because the cinematic part can get too dreamy and risk losing energy. I’ve always admired Vangelis and Jean Michel Jarre, and I aim to capture their atmospheric vibe while blending old and new influences. With a long music history, I’m always eager for the next production or style evolution. I strive to introduce new elements while keeping the true essence of my sound intact.
Nina: So last year marked the remarkable milestone of 30 years in your DJ career! That’s an incredible achievement, one that not everyone reaches. I’m truly amazed! To celebrate, you organized a massive gathering in Helsinki and performed a marathon set lasting 30 hours. How much dedication or perhaps a touch of craziness does it take to maintain such an intense commitment after experiencing the highs and lows of this captivating industry for so long?
Tapio: I think you’ve got to be a bit eccentric to come up with an idea like that. Fortunately, I have amazing friends I’ve been organizing events with for decades, as well as friends who attend the parties. They form the foundation, supporting and helping me through it. The energy from the people at the event is just incredible; it’s hard to put into words. Meeting people who’ve been part of this culture for 30 years gives me a tremendous boost. Two friends even flew in from Australia for the event, adding an extra layer of significance to the whole experience.
On the practical side, it’s about how well you mentally handle it, how much you believe in it, and how dedicated you are. I approached it somewhat like preparing for a sports event. I started working out in late spring, following a workout plan to be in good physical shape for the event. I even quit drinking coffee until the day of the event when I could enjoy it. I collaborated with a top sports nutrition expert in Finland to create a plan.
Nina: And I guess you need to love music and DJing quite a lot. (laughs) Let’s take a stroll down memory lane and revisit the origins of your journey. It all began with your involvement in organizing illegal squat houses (as you mentioned), catering to the wild and enthusiastic individuals who shared your passion during that time. I’m curious, do you still vividly recall those moments and your very first gig in 1992, the “Techno Rave”? It would be fascinating to hear about the atmosphere and experience from that era, especially because I couldn’t witness it myself.
Tapio: There was this squat house where the upper floor played techno, and downstairs was dub reggae for a chill-out space. We covered the walls with black trash bags, making the whole room black—looking back, not the safest fire-wise, but we didn’t realize it at the time (laughs). The lighting was basic, with strobes and a few simple going on-off lasers. We had two Technics turntables and a very basic mixer—nothing fancy, maybe some EQs but quite simple. I had just learned how to beat the mix a week before the event. I manually calculated the tempos from the records with a stopwatch, counting the beats (laughs). Then, I played my records in a tempo order, starting at around 128 BPM and building from there because beat mixing was still a bit tricky. These are my memories of the first party.
Nina: Fascinating! Now, the track that made a significant impact on your career took place in 1999, originating from a club called Unity. However, I’m curious about the journey that led you to create this massive hit, which interestingly shares the same name as the club. How did you find yourself producing this remarkable track that garnered instant support from some of the industry’s biggest names at that time, including Paul Oakenfold, Sasha, Nick Warren, Pete Tong, and Dave Seaman, to name a few?
Tapio: I had a music background playing guitar, piano, and in bands. I started experimenting with synthesizers but lacked a proper studio. A friend connected me with a band that had one, and we had a few sessions where I shared my vision for a song. Nicklas Renqvist, a helpful guy in the band, assisted with producing the track. I discovered a powerful vocal sample from Dead Can Dance’s “Host of Seraphim” in a record shop, and it had the emotional and trance-like qualities I wanted. I was amazed! Incorporating a sound-cutting effect called “Gating,” we created the original version of “Unity” in a week, eventually getting it signed.
I sent CDs to my favorite labels, anxiously waiting for a response. After a few weeks, a record label called, expressing interest despite some challenges. Then, on New Year’s Eve in ‘99, Sasha played “Unity” on BBC Radio One Essential Mix, opening the floodgates. Sasha’s massive exposure was a game-changer, and I’m forever grateful for him playing the record.
Nina: I’d love to discuss the captivating Pure Progressive movement and your collaboration with Rich Solarstone. It’s truly remarkable. Could you share how this collaboration came about? What sparked the creation of this dynamic partnership?
Tapio: I’ve been a fan of Solarstone’s work since the mid-’90s, around ’95-‘96, and we had the chance to play together in Ibiza around 2000. We instantly clicked, sharing the same musical vision and taste. Solarstone is a funny guy but also incredibly kind and smart. We booked him to perform in Helsinki, Finland, and our paths kept crossing. I released music on several of his labels, starting with Pure Trance. Both Rich and I have a passion for the slower progressive sound, and he came up with a label dedicated to that. When he proposed creating the first-ever Pure Progressive compilation, I didn’t hesitate for even a fraction of a second before saying “yes.” Now, most of my music is released on Pure Progressive because it aligns with the slower, melodic, and more progressive vibe of this project.
Nina: Can we expect any upcoming plans of this kind on the horizon?
Tapio: Lately, I’ve been enjoying a highly creative period, and I want to highlight the significance of technology in this context. In the past six months, I transitioned from my Pro Mac studio to a new, high-speed, powerful laptop. Now, for the first time, I can take my studio anywhere—my friend’s place, the summer house, a cafeteria—turning any space into my studio. This shift has revitalized my old digital studio, inspiring me to create more music. Currently, there’s a lot in the works, including official releases and bootleg remixes with a pure progressive touch. I’ve recently worked on remixes for Fred again and Swedish House Mafia’s “Turn on the Lights,” which I’m debuting today. I love those break moments in the original track. Additionally, I revisited an early career record, Marusha - Rave Channel, from the early ‘90s, transforming it into a techno piece—an undoubtedly challenging endeavor. Alongside these, there are official singles and collaborations, including a new track with Super8 from Super8 and Tab. We collaborated for the first time in 20 years, and I’m excited to debut that powerful song here. Expect a lot of new music coming your way.
Nina: When discussing Pure Trance, one track that has garnered immense popularity since you first played it in 2018 is “Forward Forever”. Can we hear the background story behind this hit?
Tapio: Well, there’s also the recycling of the acapella from a theme song created for the Mayday or one of them—they’ve always had a theme song, and I believe they still do. “Forward Forever” was a track DJ Westham did about 30 years ago, and the vocal hook is from that one. For me, as both an artist and a person, “Forward Forever, Backwards Never” is a fantastic life and music motto.
While it’s good to cherish some positive memories from the past, the focus should be on moving forward. Many of my tracks take a long time to develop, and the final version of this one took a few years. Interestingly, the initial version was quite crappy. However, when I finished it, I thought it was just another record of mine. So, it was pleasantly surprising that it resonated with people, leading to numerous remixes. I might play a remix today. And there have been many people who have come to say that the message has helped them get through some tough times, which is incredibly meaningful to me as an artist.
Nina: Going through your journey, it’s impossible to overlook the significance of Luminosity. I’m curious. Do you recall the number of times you performed at this renowned venue? Furthermore, what makes Luminosity so special not only to you but also to the Trance community as a whole?
Tapio: On my way here, I was trying to recall the exact year, and each time I remember playing here, I felt an immense sense of gratitude. This place is genuinely special—an atmosphere created by people, fans from around the world who deeply appreciate and love their music. The positive vibe is remarkable, and even my wife, who visited a few years ago, was thoroughly impressed. The music, programming, and overall organization are exceptionally well done. It encompasses various shapes and shades of trance—both new and old, progressive and hard. Bo and the team do an outstanding job. The venue itself, set on the beach with the sea nearby, creates a unique combination of a massive arena and an intimate, club-like vibe on the progressive stage. It all comes together to make something truly magical, and I don’t use that word lightly (laughs)
Nina: Well, it is a right word to describe it. We all feel this way. While it is true that your focus has currently been on “singles, remixes, and bootlegs,” there is a strong sentiment among trance enthusiasts yearning for a new album from you. Many fans would be thrilled to know if Tapio has something brewing in his creative kitchen, hinting at the possibility of an upcoming album.
Tapio: I’ve been thinking about it. I’ve released many albums, and I enjoy creating the concept and the records. The album projects have become more extensive, taking longer to complete. The music world has changed, with a constant hunger for more.
As an artist, making an album usually takes 2 to 3 years, and not releasing music for that long isn’t the best idea considering the current pace. Despite considering it, for “Harmonia,” I released 3 to 4 singles before the full album. I’ll likely continue focusing on releasing singles and bootlegs for a while.
Nina: I think people need to hear music coming from you frequently. I was just curious (laughs).
Tapio: Just a week or two ago, I was reflecting on this because I love creating these entities of work. Albums are like a big body of work—they linger, some songs stay, and others may take a break for a while. Releasing a song may feel like it’s gone in a month or two, whereas albums have a longer life. When you create an album, it’s a holistic experience, a musical journey for the listeners.
Nina: Is there anything else that you would like to share that you’re preparing in your music lab or anything else that you find interesting that your fans would like to know?
Tapio: I think we’ve covered a lot of things. Thank you for this fantastic interview. The questions you asked clearly reflect a deep understanding of music, and I feel appreciated. I love it!