By Scott Heller
From Aural Innovations #6 (April 1999)
Five Fifteen is a band that has been in the Finnish rock scene for 15 years now. The band borrowed it's name from the WHO's famous rock opera, Quadrophenia. The band did not begin it's official recording career until 1990, but since then has been regularly releasing new and exciting music. It is a 6 piece band with male and female vocals and takes it's major influences from hard rock bands from the 70's like the Who, Allman Brothers, Kansas, etc, but always surprise you with strange and funny lyrics and psychedelic feel. The band is well appreciated outside of Finland (70% of sales!), but is totally unknown in the USA. I think they keep improving with every CD and have developed a style very unique to themselves (very difficult these days!). I think you can best describe the music as melodic psychedelic rock music for the whole family!
The bands' first several releases were sung entirely in Finnish (you try to figure it out!). The Kylmemmäksi Kuin JSS/Nirvana 7" (1990) contains some of the elements of the current sound of the band, which I assume, was honed to this state from the years 1984-1990. I don't know for sure as I have never heard any of the old material that exists on demos and live tapes. Anyway, Kylmemmäksi Kuin JSS is quite good with a horn section and a little funky groove. Nirvana has a heavier guitar and shouting vocals with a subtle piano line. The Ohm's Law 12" picture disc had four songs all sung in Finnish. The organ that starts the song "Haaksirikkoinen" and the guitar are very reminiscent of the sound the band has today but this song has much more of a Deep Purple influence! This song really reminds me of something off Progressive Hardrock... I can't figure it out. "Mäyräkoirat" is a great song, the first time the band had experimented with a sort of dark Mid-Eastern like feel during the break. I wish they had extended this part of the song into a longer jam. I also wish I knew what he was singing about! Jessica (not the Allman Brothers song) has a melodic Allmans feel to it although sharing no real similarity to the classic.
The bands next single, "Summer City" (Kesäinen Stadi), which came out after the Ohm's Law 12", was released by the record company and was not intended to be released by the band as it was just a jazz parody the band had recorded. Strangely enough, it became a Helsinki Top Ten single, even reaching as high as number 2! This was the bands' last release to be sung in Finnish. The B-side, "Shakinpelaaja", is hard rock sing-along with a strong similarity to the material that would follow on the bands' first CD, Progressive Hardrock Beyond the Mainstream. The band released one more single called "Sleepwalker" in 1992. This single was back to the hard rock style to put to rest any assumption that the band was a jazz lounge band!
Progressive Hardrock Beyond the Mainstream was the bands' first attempt to put together a full CD of music, showing the world just what they were all about. The CD opens with the great hardrocker, "Call the Doctor". Next, they follow with the excellent cover of the Beatles, "Hey Bulldog". This really rocks hard and I have to say I like it better than the original! Awesome! This is also the first release in which Marika plays a major role in the vocals, singing many of the lead vocals. I really like the moody instrumental, "A Good Trip Gone Bad". Some great guitar playing and organ interplay. Other standout songs are "Find your own Mushroomland" and "Believer". This was only the start....
Armageddon Jam Session Number Four was released in 1995, with a very strange and haunting album cover of what looks like concrete buildings standing up in a turbulent sea surrounding a large head with a stone face look (also made out of the same building structures), all under an ominous looking sky. The CD starts with the great "Peanuts and Holes in my Memory". The band covers "Cab Driver" by Lenny Kravitz and "Love Alive" by Heart on this CD. Both quite good versions. The CD ends with the great "Freedom Is For Children".
In 1997, the band released the great Psychedelic Singalongs for Stadiums CD. There were no cover songs on this CD but some really tremendous material such as the great "Hanuman Dance" with it's haunting piano, and string section. This goes right into the great "Waterfall" (Second Coming) with it's building heavy guitar. "Never Meant To Be Sent" (dedicated to Petri Walli of Kingston Wall) follows with a nice psychedelic wah guitar that Petri would have liked and a strumming acoustic guitar. Marika sings the lead vocals. The very catchy "Dancing With Mrs. Fischer". The strange but potent lyrics written by Mika Järvinen seem so appropriate..
The bands' most recent release was quite special as it was released as a limited edition double CD package entitled Six Dimensions Of The Electric Camembert with a live CD entitled "No Sleep 'til Blue Room" recorded in Helsinki in 1997 and 1998, and contains songs from the bands first three CD's as well as a selection of cover songs (Baba O'Riley, Pinball Wizard, I am the Walrus). I love the new CD and think is the best CD they have made yet (with many classic songs), some with a strong WHO influence, but much better than the WHO in my opinion! A great album for headphones as the band have really mastered the studio with excellent usage of panned vocals, guitar, organ and effects. A masterpiece.
The bands current line up is: Mika Järvinen- Guitar/Vocals, Marika Liuski- Vocals/Piano, Pate Kivinen- Keyboards, Repe Lumikupu- Bass, Janne Suni- Drums, and Pekka Laine- Guitar. I was very lucky recently to get to talk with guitar player and founder of the band, Mika Järvinen.
MJ: Ok... ask anything you want and I will lie in all the answers!
SH: There is quite an extensive history of the band on the internet o we can refer people to that, but when you started in 1984. How does the band differ from today? Was it always bass, 2 guitars, keys, drums, two vocalists?
MJ: Yeah. You can call it that it probably started in 1984. Our school ended in that year and we had been together since we were ten. For example, Timo, myself and Suni and Marika was probably 15 when she started hanging around us. The real band became something in like 1987. Before that it was more like hanging around... ok... there was a band called 5.15 which probably played several times in the band competitions and stuff like that and having a fun time. In 1986-1987 we won a few competitions. Very serious ones. Also funny that Waltari and Stratovarius was there. We started playing a little bit bigger places. We played the first time in Tavastia (Ed: This is the big rock club in Helsinki) then it became serious and we started to look at it as a band.
The name came about because I loved a lot of bands in the 80's like U2. They composed very good songs and you could pronounce it in every language. So 5.15 is a very good name because you can say it in your own language. And we wanted to sing the songs in Finnish and English. There were a few guys who had done that in Finland and it worked quite good in those days. One guy named Dave Lindholm? He did very good English albums and suddenly he did one Finnish album. It was more like Talking Heads style or blues ones and then in Finnish it was more like Dylan.. Very good song and very funny ones. He started about the 70's like Wigwam. For example, Wigwam guys shared the same record label. That was the idea about the name.
SH: Did you guys play a lot of WHO songs in the 80's?
MJ: The WHO idea came because the first bass player, our friend, was a fanatical MOD. That was the one band that we could share together because I have been a little long hair one for quite a time. And I have never understood these armies of the musical leagues or some sort of thing like that. So I listened to Gene Vincent or Hawkwind or Kate Bush. I didn't see any difference in Bob Dylan or Motorhead. The MOD guys saw the WHO as the band who has played almost anything. Townsend had played almost everything. On the same album there could be a rock and roll song, or weird vibrations or something like that. Good progressive stuff. Always people called it the WHO music. I liked the image of that. So we made a few demos in those days and then Suni went to the army.
SH: Did you record any demos before the first single?
MJ: Yeah. Lots of demos in those days. Funny, both in English and in Finnish, both versions.
SH: How does 5.15 go about writing songs? Do they develop out of jams sessions?
MJ: Most of the time. It is the very same way in these days. I get one idea and we are working together and then I develop the lyrics when we are making the song. Probably I have the chorus lines on those but sometimes they cut mostly my parts away or they want more parts possibly. Innocence includes has lots of more parts. I wanted it to sound a bit like Bohemian Rhapsody, it didn't happen, huh? That was the reason why I had said you had now destroyed my song so everyone is now composing it. "Oh... we don't mind... it is the best song you have ever written... we don't mind if you want to put our name on it." In those days it was much the same. We didn't think about it. Lots of free stuff and very ambitious stuff. More pre-RUSH or something like that. Our drummer was very pleased about that, but not I!
But when Suni went to the army there was some negotiations about what are we going to do. And we asked a guy who was even a little bit bigger of a star, even in those days called Sami Kuoppamäki (went on to be in Kingston Wall). He has been a long time of us. He went first with us to Denmark even then, to Aalborg, some kind of youth festival. We played very weird stuff there. At that time it was Marika, me, Sami and a guy named (?) on the bass. In these days he was very professional. Playing in those famous bands in Finland, singing in Finnish. Let's say adult oriented Finnish rock. Because you get loads of bucks. Like I get loads of bucks for playing Sweet Home Alabama to the drunk guy getting together with friends. That is the way it goes in every country.
In 1985 we knew Mika Myyryläinen and we wanted to release the single. In those days it was so close that we got the record deal before that. We have done a few singles that were never released. I stole the tapes from the record company in those days. One reason was that the record company wanted to change the English to Finnish. And it is very reasonable in Finland to sell much more records in that way. It's like that in Germany and Sweden as well. So we changed it in Finnish. That is the reason we started to release the singles. It was Myyryläinen. The funny thing was that it was quite fun to make Finnish lyrics. I tried to make childish lyrics. Like Steven Tyler like lyrics. That kind of stuff. To try on the Finnish people and get the Finnish people to realize what is rock music. It is not art in lyrics, it's not art in music, it is not art in acting. If you think of for example Jim Morrison. If you are really honest he sounds like Ringo Starr. The difference is that he sings a little different lyrics. But at times the sound is exactly the same. I can imagine the DOORS playing Yellow Submarine. Very similar contra alto voice. But the point was that I tried to make that kind of Finnish lyrics and most of the time they get far out the head!
SH: Do you write the lyrics in Finnish and translate them to English now?
MJ: No. I write them in English. The most difficult thing about Finnish was that I was always thinking about music because I have not listened to a lot of Finnish stuff in my life. Dovalin was the only one. He also sang in English too. I understand that there are a lot of Finnish bands where singing in Finnish is natural for them but for me it is like translating Steven Tyler. Steven Tyler doesn't sing English. He sings rock and roll. Great rubbish lyrics like little Richard.
After three singles I was getting really annoyed about singing in Finnish and finding that Summer City sold loads of records in Helsinki. In that Summer it sold more records than Metallica and Brian Adams. It was a very big hit. It was a joke about... think about slang... very Finnish... it was a parody of the jazz... but then we played in the Jazz festivals. Think about it and only that song as a joke and we came to play back in the rock clubs and we heard us on the jazz radio programs saying, "It is good that the young kids are playing that kind of swing stuff". Then I knew that something has to be done. I said to Myyryläinen that if it goes to the bottom of the barrel I don't care, but we have to do it in English. It's funny you didn't see that "Sleepwalker" single (this was the only release I didn't have but I found it on my last day in Helsinki!) it went down like windshell. It didn't sell at all. It was more like typical hard rock (Sleepwalker) and "Nightingale Waltz" was what it was. Weird song. With very weird lyrics if I listen to it now.
SH: Well, you didn't leave that jazz stuff all behind because there is that song on the end of Armageddon...
MJ: Once again, it was a joke. At that time it was a French joke.
SH: Did you ever give that song a name?
MJ: "L'Amour est pleine de Problemes" (Love is full of problems). Once again I sang it just once. You can hear the papers if you listen to Armageddon. I said at the end of the songs, no we can't keep that. The rest of the band said, no it was good. It was fun.
Then we started singing in English. Why it took so long from the single, the first album, for example. One of the tapes was destroyed. The first idea was that there be more live songs on the album. For example, Armageddon Jam Session was already recorded there (1992) in Tavastia but one guy destroyed the tape. Timo from Stratovarius he thought that we didn't need them so we had to start it once again half of the songs.
SH: What do you think of the old singles now?
MJ: Sometimes Repe and I tried to listen to them (the first singles) but it always stops after one beer or after three beers because we have to start drinking when we listen to those old tracks.
SH: It was several years between Armageddon and Psychedelic Singalongs?
MJ: That was because Timo left the band. But we were talking about those decent jobs. Timo and I have know each other for over 20 years. He hated playing live. He never liked that Bon Scott lifestyle, riding on the highway, going to the show. He hated that from his guts. It was very annoying too if someone was always nagging about the cold, etc. So he just freaked out and he played most of the songs with me and wrote most of the songs with me. Pekka had played with us before so he know the songs, but I had to prove to myself and all the other members that my songs still got sense without Timo. It was like a hangover after Timo. I thought that we should end this shit without Timo but the other guys said no no... have you got any good songs. Yeah... I have many songs. Yeah... but do you have any good songs...
SH: I noticed that "Never Meant To Be Sent" (from Psychedelic Singalongs) was dedicated to Petri Walli. How well did you guys know Petri and Kingston Wall? How did his death effect the Helsinki music community?
MJ: I have known Petri for a very long time. They played their first concert warming up. Sami first played with us and then he went to the States, New York, and LA, studying drumming. When he came back, Suni was already back in our band. So Petri asked if Sami could join Kingston Wall. To Petri music was a little bit of competition sometimes. He was very relaxed in his own way. Very honest. And also, if I am being honest about this thing, when he started the Kingston Wall and those days before the first album he was very straightforward guy, he didn't even drink. His brother was a very famous guy. His mother is very known from the other side of Finland. You know, like.... when Kingston Wall broke up, Jylli probably told you, he wanted a little bit different direction than Sami and Jylli. His girlfriend, Tanya, he had also written a song about her. They were very close. She took it very hard. She was like a button on the shirt with Marika. The idea about the song, that was Marika that had that. She is not written that much. She tries to write lines. The lyrics are always a problem to her. So she was playing around that song and I asked her what do you want to talk about and there was that Petri question. Ok lets write the letter that we never had the guts to say in front of him. About those things that he had done. Something was haunting him all the time. He wanted so much... so eagerly. He was very disappointed that that kind of music couldn't sell outside of Helsinki. He couldn't understand and be realistic like me and go there and play Sweet Home Alabama and have people tell me, "You look exactly like Jimmy page. Play that excellent Led Zeppelin song Smoke on the Water". Yeah. Give me a hundred bucks and I will play anything you want!! (lots of laughs) Good old redneck. Petri didn't understand that stuff at all. He was very fanatical. I always respected him for that. It always becomes a problem if you are too much little into something.
As how much influence that Kingston Wall had on the Helsinki scene it is probably still there. Many young musicians, when they are studying in the jazz institutes or something like that they sounded a lot like their jamming. The funny thing is that Sami Kuoppamäki was a very great influence and also Petri. I was at a few festivals last Summer and there were a few bands that tried to sound exactly like Kingston Wall. So lots of little younger musicians are very hooked on that music. And also, it is funny how infamous it was outside of Helsinki.
SH: You guys really like these long album titles. Why? I think they are quite cool. Where did Six Dimensions of the Electric Camembert come from?
MJ: The funny story behind that is... In France there is a magazine that wrote a review about our last album, Psychedelic Singalongs for Stadiums. Like I have said, I have learned a little bit of French. What the hell is this guy talking about? He got a line that went something like this... "With their 6 faces against the moon of the gong their music is changing to the dimension. And after that it sounds exactly like Electric Camembert. Surprising. Not at all. If you start at the Waterfall and you will understand!" I was thinking I would have to write this guy. It was a very good review but I have written that song and I don't understand anything about what you are saying. Six dimensions... we got 6 members. Ok... that makes sense. Camembert, it sounds good. It was much more easy to write the song about it. Then there is a little inside joke about 6 are 1. Are we progressive... are we heavy metal. For example, Michael from Record Heaven is trying to sell us that we are a Deep Purple, Led Zeppelin kind of band. I don't mind. They can even sell us a reggae band. I don't mind.
(We got a little off topic talking about GONG and a Finnish Dead head who told him that GONG had an album called Electrique Camembert, which he did not know about and I said that some of his lyrics were quite weird like Daevid Allen.)
SH: I think that some of the lyrics you write are pretty far out. DO they have deep special meaning? Are you playing with words?
MJ: It depends the song really.
SH: Well, for example, "Grasshopper's Holiday". I like the lyrics to that one.
MJ: "Grasshopper's Holiday" is a true story. A very funny one. After Summer City I had the funniest summer of my life. I didn't have to do almost anything because I get so much royalties from the radio airplay. Also because Armageddon got some... oh that I didn't have to nothing that is rubbish. But I didn't have to do much. But it was a lot of hanging around time, which I like sometimes. I like to play pinball and that kind of thing. I was in the center of the town at the tram stop. And one thing I believe in is a little anarchy. I haven't paid the tram tickets for ten years. You have to rebel against something even if you are an old boring hippie. I ain't gonna fucking pay those tram tickets if I can. It is funny and exciting are they coming the blue minis, that is what I call those inspectors, from the yellow submarine movie, if you have seen the Beatles movie. The Blue Meanies were the ones who hated music all the time. They were Mickey Mouse's in blue suits with the machine guns. The bastards in the trams have got the blue suits... ah... blue minis. I'm the little man with music pelts in my ears. The blue minis are coming. So I was waiting at the tram, at the stop, and there was a very kind of old lady. "Are you using drugs". I was laughing. I asked her how old do you think I am." Probably something between 18 and 21". Ah... thank you. I'm 32 you know. So if I could be 32 and you think I am 18, I must have probably used lots of drugs then. Because I left that stuff very far behind. I was also a little bit ambitious in the 80's about that stuff. That is past too and very funny. So it was a very good idea about the song. The Grasshopper came about... I have been on the road so long and I like decibels when I am playing. And bands that I mix or do the lights for like decibels even more than me. So I am just waiting for the day when I can't hear Grasshoppers anymore. So that this is probably the first summer that the Grasshopper holiday, that I can hear them so they can be free without me. And also, hear I am hanging but the winter is coming.
SH: On the new CD it seems to me that each section seems to be kind of like about each member of the band. I don't know if that is something I am reading into it or not.
MJ: Funny thing that you are the first one that recognize it. Because that was a little bit the idea also. Also the pictures in the songs in the CD start like that. And I am not the urban super city space cowboy, that is Repe. That is one funny thing also.
SH: I notice that you use this reference to the Marshmallow band in "Freedom Is For The Children" and then again in "Wink Of An Eye". Is there a story behind that?
MJ: Yes, we are the Marshmallow band. We are not real. We are Spinal Tap. Our rock is hard as a marshmallow. It is like the poor mans Bob Dylan is Donavan. So we are poor mans hippie band. Marshmallow band. It became like that Ghostbuster, couldn't harm anyone. I steal almost everything I can get from the movies and books. I read a lot. I read all my life.
SH: Yesterday, Santti and I got together with Jukka Jylli.
MJ: Ah... The weird one. And the realistic one. He is even more skeptical than me.
SH: How do you gauge your popularity outside of Finland?
MJ: It depends about the town. Up in Turku we are almost as known as we are in Helsinki.
SH: What about Tokyo?
MJ: Tokyo... god knows. You know the band Leningrad Cowboys. They bought our record from there. It was very funny for them. They had not listened to us. All their roadies had also worked with me on the road with a different band.
SH: You did this thing last week for Swedish Radio. What about in Sweden? I know you played the Prog Festival last year. Any other gigs?
MJ: No. It was the first one and probably now we are going to play there a little bit more. Most of the problems with those gigs is that there are three members (in 5.15) who have good working jobs. Like our drummer is selling drums in the best music store in Finland. And also so is the head seller of the DV drums. Those hand made expensive drums. So those guys they don't have to play for their life. All those trips don't make much sense. The funny fax came from Israel, just before the bomb accident there. We were like yeah... we would be there... "No you have to play Stairway To Heaven you long haired freak or your not coming home anymore". It was very weird fax. Some Ruby management who had the idea, could we stay one year there. And then you will be like Janis Joplin and Robert Plant. I was like yeah right. This is good management. Let's go play Israel with the karoke all day long. Those gigs from outside Finland are hard. We just canceled some gigs in Germany and now they are the first week in May. We will see about that. And also, there will be one more festival in Sweden.
SH: I know it is complicated when two or three of the guys have steady jobs.
MJ: And also children.
SH: It makes sense to focus on Finland.
MJ: I don't mind at all.
SH: Then you might think about switching and singing in Finnish again.
MJ: Noooooooo. I'm not anymore of that. If I want to make a load of bucks I can also go and design computers or go to the striptease club selling pornographic magazines and things like that. It just doesn't work out for me. I'm so much used to the English written music. It doesn't make sense for me. IF I was listening to a lot of Finnish music, it makes sense. My point of view... to be very commercial... You have to do the kind of thing that you really like. It is much more easier to sell, much more easier to a good car if you believe it yourself. So...
SH: Someday I would like to experience a 5.15 concert.
MJ: It's just gag. Just show. It's not music at all. My point of view of the live show is never music, that's too. That is the secret part of why I like rock and roll. It's not music at all. It's bad acting, bad singing, bad playing, bad lyrics, bad jokes. Very middle oriented. It is a striptease show but something exciting happens if it is a good band and audience. A chemical reaction. For example you listen to the gig after on the tape, then it becomes once again music. There are faults or flaws but also very good stuff. But then it becomes music. It's not that it's just rock and roll like Iggy Pop or WHO or also Hawkwind got that meaning. I saw them at the Acid Daze Festival in England and that's got some sort of magic in the air. That is the reason that rock and roll is very interesting. It has nothing to do about the music. Funny, when you start to record rock and roll, its not rock and roll anymore. Then it becomes music. Then you have to think about what kind of music you are going to play. Recording live is just a different thing.
SH: There are millions of bands out there. And here is a band, when you listen to them, they have their own sound.
MJ: You haven't been taking something now... I thank you but this is too much. Please don't say things like that. It's not true.
SH: You said that you did drugs back in the 80's but you gave all that stuff up.
MJ: You can't say that I gave up. That would be ridiculous and Hippocratic bullshit. But I am interested in it anymore.
SH: I was wondering if you had a flashback during the time you were making Six Dimensions.
MJ: The guys in the band will say that I am flashbacking all the time.
SH: Cause the three Martians going to Las Vegas (last unlisted track on the new CD). I have to know about that.
MJ: One funny thing. This drug image that we have. Marika, I and Repe don't do that. Janne, our drummer, who is very strict person and our keyboard player (Pate), has even had work in the customs in Finland, hates that image. That is the reason for example that we never recorded Hassan I Sabha. Because our keyboard player says we already have that drug image and all those friends and freaks are coming to our gigs and I'm really tired of them. We have seen those guys and... he has been hanging around for 20 years so he has seen quite a lot of stuff. But the funny thing... he is the guy who had the marijuana cap in the Psychedelic CD picture and the 3 Martians, that is Janne and Suni's lyrics. His idea. They are the ones concerned about our image and they are the ones who are putting that image all the time. That doesn't make sense. Janne had that idea years ago back. I always go to the memory bank and ask if you have anymore good lyrics, that riff behind that, that Zappa like... well our training process. Suni said something like Einstein trying to explain the light theory to the caveman. All the time during the recording sessions he would be playing that riff (he sounds out the riff to the Martians song). And then I started thinking about it and said we have to make a song about it and then I remembered that Janne had those lyrics. And I tried it at first. The idea was that he did the lyrics and then we put the music together with it.
SH: Have you tried that song out live?
MJ:We have thought about it.
SH: Those jokes are always within ourselves.
MJ: That is the only good thing about the CD you put things like that. But I don't like the covers, they are so small. Ok... the recorded sound is better and it's much cheaper for a band like us to do. I hope that people don't think we are taking it too serious and that it is all a joke.
SH: I think most people realize you are just having a good time.
MJ: And those Finnish conversations on the CD... most of the time we are fighting about ice hockey! So that is also one thing that is inside jokes. You don't have to listen to them, they are just for fun.
SH: I liked the telephone calls that broke up the songs on the new CD. With the promoters.
MJ: That was also the idea. My first idea was to put together a live and a studio album together that this should be some sort of soundtrack from the movie. Like Rainbow Bridge by Jimi Hendrix, which is a mix of live and studio songs. The first idea was to just have a few studio tracks like Innocence and a few songs but then in the memory bank there was the idea about the story and that was the idea about the telephone calls. I stole it from the WHO. The WHO has that album Sell Out that has advertisement between the songs and it's very funny, so I was thinking that there should be advertisement. Maybe next time. I was remembered, very annoying at the time, Lorelle commercial... "'Cause I deserve it!". 5.15, I'm worth of it! (Everyone was cracking up) Probably next time..
SH: So you have already been working on new songs?
MJ: We are always working on new songs.
Well, that was the end of my hour long talk with Mika. He is a great guy. If you want to see what the band has released, the complete discography is listed below.
1990 Kylmemmäksi Kuin JSS/ Nirvana 7" (Bluelight Records BLR 4512)
1991 The Ohm's Law 12" Picture Disc (BLR 4515)
1991 Kesäinen Stadi (Summer City)/ Shakinpelaaja 7" (BLR 4519)
1992 Sleepwalker/Nightingale Waltz 7" (BLR 4523)
1994 Progressive Hardrock Beyond the Mainstream CD (BLR 3319CD)
1995 Armageddon Jam Session Number Four CD (BLR 3324 2)
1997 Psychedelic Singalongs for Stadiums CD (BLR 3343 2)
1998 Six Dimensions of the Electric Camembert CD (BHR 3354 0)
(limited 500 copies double CD with No Sleep...)
1998 No Sleep 'til Blue Room CD (BHR3354 0)
1998 Innocence is No Excuse CD Single (BHR 4553 2)
1991 Daschund (MSyäkoira)
You can visit Five Fifteen at their web site.