The sounds and themes found in these short FastTracker 2 songs, and the inspiring response they had received globally, became the basic building blocks of the Suomisaundi phenomena.
It was the first album to directly answer to the rapidly growing need for a new localised sound, that had been created over the previous years by the party collectives and the general popularization of electronic music.
Initially there was criticism of Suomisaundi because early examples of the genre suffered from lack of production standards and inconsistent quality.
[2] Tim is widely credited for being the first to produce tracks closely resembling the modern Suomisaundi in -94, earning him a cult status within the global Goa trance DJ and party organiser community over the course of the following year.
Steady fanbases in Australia, New Zealand, Japan, Russia and Eastern Europe led to non-Finnish producers creating Finnish style psytrance music around the world.
[This quote needs a citation] The genre is generally not as formulaic as most current psytrance, with artists having more freedom to explore their own individual sounds and styles.
Suomisaundi tracks are usually very melodic and eclectic, typically with heavy influence from early Goa, tribal house and acid trance and as well as—departing from classical psychedelic trance—some degree of influence from funk music (e.g., incorporation of funky horn, guitar, or keyboard loops) oftentimes decorated with sounds and ambience reminiscent of retro video games.
Additionally, suomisaundi bass tends to differ from conventional European psytrance in patch design, equalization, and rhythmic distinction.