People who like 52 also listen to Pupil, Yano, Thieves Like Us, Psychobuildings, Eraserheads, The Aikiu, Man Without Country, Sandwich, Wolfgang, NGUZUNGUZU.

Ripatti released 52 on Wed Apr 30 2014. The 2 track Leftfield release features Teeth, and Vladislav Delay. **Ripatti** has also released vinyl by [Luomo](/artist/luomo), and [Heisenberg](/artist/heisenberg). Browse the [Ripatti catalogue](/label/ripatti). People who like 52 also listen to Pupil, Yano, Thieves Like Us, Psychobuildings, Eraserheads, The Aikiu, Man Without Country, Sandwich, Wolfgang, NGUZUNGUZU.

Desto

Visionist

Acezantez

Teeth

Vladislav Delay, Uusitalo, Luomo, Conoco, Sistol. Under a raft of different names this Finnish artist (Sasu Ripatti *1976) has experimented with ambient, broken beat, glitch as well as grooves and house music with soulful vocals. In addition he has collaborated with and worked for a wide range of artists ranging from Scissor Sisters and Craig Armstrong to AGF, Black Dice, Massive Attack, Towa Tei and Ryuichi Sakamoto. While his side-projects and remixes are there to flirt with more stable rhythms and dancefloor institutions, his main love as well as his background is in experimenting with different kind of sounds and rhythms; a quest to find some music not heard yet. The soundtrack of Vladislav Delay His forte is the rhythm, even if so subtle at times. In fact, he may as well be classified as a “percussionist” (actually he is originally a drummer) rather than an electronic musician despite the fact that that is how he mostly generates his sound and music, because it is the beat and its possibilities which lie closest to his heart, which further serves to explain why he has experimented with it from so many different musical angles. Having always been slightly sensitive and critical towards programmed “electronic” music in some ways, (while liking it in many other ways) the composer tries to challenge himself to look for his own personal sonic integrity. To realize his vision in sound and beyond he maintains the importance in the fact that it is him that plays and uses the machines and not the other way around while still taking the advantage of all technical advancements available today and not letting any thinking or analyzing ever take over the artist and his utmost commitment to the due meaning of every note – nothing wasted, nothing routine.

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