The Emergence of GEA’s Voice

By Deuce

Part I: The Voice

Truly, the tale begins in Finland, with the breaking of a woman’s heart—if not something more.

GEA—singer, songwriter, musician, producer, and keyboardist—had just treated her then-husband, himself a music producer, to something designed to impress, to win favor, to ingratiate.

It was a song, one of the first the artist had devised in a significant amount of time mired, as she had been, leg-deep in a completely unrelated career in the corporate world.

“I noticed he was always really, really impressed by women who make their own songs, who wrote their own songs,” GEA recollected about her betrothed. “So, I said I was going to try to impress him by writing a song.”

Lofty intentions, indeed. However, the marriage itself was spiraling down a pattern of abuse, both physically and mentally. The reaction GEA desired was not realized, to her immediate dismay, as her husband berated both her and her (at the time) fledgling talent, so convincingly perhaps, that a lesser person may have aborted any such further activity—let alone a vocation—in the artistic expression of music.

“I think he overall wanted me to be very submissive, and not to find my voice,” GEA explained about such an unwarranted response from one who should have been her most staunch supporter. “He wanted to keep me in his shadow, I think.”

At present, GEA has released two albums, and an EP. She’s a composer and creator of healing music, designed to “decompress the brain,” she noted, and which is disseminated through a white label app. She’s toured numerous countries and is in the process of touring even more. One of her tunes, “Followers”, has been included in a television series on Netflix.

She’s got another album in the works and, her very first single “Pink” (the inspiration of which was her ex-husband’s traumatic beating of her because she had the ‘audacity’ to continue to write music in their shared home) was extolled by the critics, the reviewers and, saints alive, even her ex.

GEA, it seems, had found her voice.

Part II: Finland

The extremity of the dichotomy in the Finnish wilds—its weather, if not its denizens—is stark. The midnight sun isn’t a colloquialism but a reality during the summer months that burn away in brightness. The winters are forlorn, engulfed in a seemingly interminable darkness rife with trees at night, and more than a few souls who regularly brave such summonings—if not imbibe them.

One listen to just about any of GEA’s sonic creations and the hues, the distinct outlines of shapes, of unbridled earthiness in the wondrously wild outdoors, come bearing down upon the consciousness of the listener. Doesn’t matter if one has never seen nor experienced such natural phenomena oneself.

One can simply hear them in the music, the vocals, their phrasing, and delivery.

“I have always had a very close relationship with nature,” GEA admitted. “My dad used to say that when I was a child, when he left to work in the morning I was sitting under a tree, and when he came back I was still sitting under that tree. And, I was in a way spending my day with that tree and communicating with that tree. I feel like as an adult you lose a little bit of that ability, but also on some level I still have it. There’s still a connection with nature that comes through my art very strongly.”

That sentiment is redoubled in her latest single “Uusikuu”, which brims with such aural translations of one of the most powerful influences on the earth. In fact, the artist’s name is a play on that of the personification of earth as a female goddess, Gaia. Again, the opposition found in the climate and natural surroundings of GEA’s native Finland is evinced in her musical creations.

A goddess of earth, of course, is the perfect pairing of the sacred with the profane. Similarly, the high pitched tones with which GEA sings are perhaps more appropriate for the empyrean than those on this planet—which could explain why they’re so captivating.

“I really love singing so high,” GEA said. “That’s really what I get the most pleasure from is this really ethereal, high-pitched, angelic sound.”

Part III: Out Of Office

Divorcing and leaving her husband was but one vital aspect of the tale of GEA. The other was a similar sundering with the corporate world in which she had immersed herself.

The trappings were all there—monetary compensation, the fulfillment of ambition, perhaps even the admiration and respect of her peers. Nonetheless, for a woman who describes herself as always having a strong sense of intuition, there had to be something more.

Hadn’t there?

“I was really ambitious and got all these promotions but I felt really empty: a lot of restlessness and anxiety that I’m wasting my time and my talent on something that I was not born to do,” GEA recalled.

The immediate repercussions of permanently alienating herself from her husband may have paled in comparison to those of doing so from her job. After all, her salary was lucrative, she had two children to provide for, and there was an unyielding mortgage that couldn’t have cared less about her inner happiness.

But with the success of her first single, and her forays into numerous facets of music aside from being a producer and artist (she also creates NFTs and has a burgeoning market for the healing music mentioned earlier), and the power of belief in her own voice, GEA has persevered.

She continues to do so today.

“After a while I realized that after I started to make music I had lost the restlessness,” she acknowledged. “I no longer wonder what I’m supposed to do. I’m calm and I’m happy, then I realized I can’t continue in the corporate world because it’s like the opposite of the art world. The values are very hard; it’s very toxic. And, in music you need to be different. You can’t talk to a musician like you talk to a business person.”

With a voice like GEA’s, there no longer a need to do so.

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