Passive/Aggressive

ASUNA & Jan Jelinek – Grainy micro-structures shrouded in infinite sustain

English Kritik April 10 2019

ASUNA & Jan Jelinek ”Signals Bulletin” (faitiche, 2019) – review by Wieland Rambke

Jan Jelinek is a legend of minimal music: For more than two decades now, the German producer has used samples, field recordings and modular synthesizers to produce gently pulsating music that feels organic, yet hi-tech. On and off through the last five years, he has been collaborating with Japanese sound artist ASUNA, and ”Signals Bulletin” is the first released result.

ASUNA primarily uses organs, keyboards and toy instruments to create tonal clouds that he presents both in live music as well as in art exhibitions. Often, he suspends notes by the simple practice of taping down keys on the keyboard, allowing the instrument to sound for extended periods of time.

Læs resten

Deaf Center – Towards a more spacious melancholy

English March 19 2019

Interview by Mathias Ruthner

Though having existed for more than 15 years, the forthcoming album, “Low Distance”, is only Deaf Center’s third full-length release. Since the Norwegian duo released their first EP, “Neon City”, their output has been somewhat sparse due to the geographical distance between its two members and their wide range of other collaborative and solo outputs. Since the start of their collaboration Erik Skodvin has recorded music in his own name and as Svarte Greiner and also produced and released music on the Miasmah label, while Otto Totland has collaborated with Huw Roberts under the Nest moniker and also released two solo piano records on acclaimed Berlin label Sonic Pieces.

The duo’s sound has definitely evolved throughout their existence, from the more organic and murky sounding “Pale Ravine” to the abrasive strings and heavier sound of 2011’s “Owl Splinters”, they have been operating within the realm of the dark ambient, post-classical and drone-heavy sound, which they have played a considerable part in developing and demarcating. However, “Low Distance” certainly marks a new direction in their collaborative effort.

Læs resten

Rex Kyed – Transithallernes ambivalens

Kritik March 29 2018

Rex Kyed Uhørt 2014_John Eduard

Rex Kyed “S/T” (Infinite Waves, 2018) – anmeldelse af Kim Elgaard Andersen

“At rejse er at leve” er nok et af de mest slidte citater på dansk. Det er blevet skamredet så meget, at det næsten har mistet sin betydning. Det var nok også mere ophidsende på H.C. Andersens tid. Nu er det muligt for alle at rejse, og mange gør det tit. Globaliseringen har normaliseret kulturer på tværs af kloden, så forskellene er knap så overvældende som i 1800-tallet.

Den nye duo Rex Kyed har lavet en EP om sit ambivalente forhold til at rejse. Ifølge gruppen selv drejer den eponyme plade sig tematisk om de tos eget liv, om ensomhed, at rejse ind og ud af tryghed, at være væk fra familien, at være undervejs. Den ambivalens kommer til udtryk i nogle sparsomme droner og blippende synthtoner blandet med enkelte field recordings her og der.

Selv om duoen er ny, er det et par erfarne herrer, der står bag. Læs resten

Rafael Anton Irisarri – En patosfyldt skildring af forfaldet

Blog Kritik October 11 2017

 

irisarri

Rafael Anton Irisarri “The Shameless Years” (Umor Rex) – anmeldelse af Alexander Julin

Siden 2007 har den amerikanske producer, multiinstrumentalist og komponist Rafael Anton Irisarri udsendt i alt syv ambient- og drone-albums, som ofte har været præget af spinkelhed. På sit nyeste album, “The Shameless Years”, bevæger han sig i samme genrefelt, men ofte mere patosfyldt og ildevarslende end på især sine tidligste udgivelser. Læs resten

John Chantler & Johs Lund – Singulære tilstande af ro og vildskab

Kritik August 29 2017

endlesssky0010652014_10

John Chantler & Johs Lund “Endless Sky” (selvudgivet, 2017) – anmeldelse af Simon Christensen

Vi får at vide, det er en synthesizer, men det lyder som et strengeinstrument, der producerer en lang meditativ drone. Samtidig hører vi ‘cirkular breathing’ på altsaxofonen fra Johs Lund, som hele tiden overskrider den rene tone og bliver gradvist mere abstrakt i løbet af albummets første side. Den anden del starter først midtvejs på B-side, hvor det lyder som et larmende modularstykke og en forstærket saxofon, der arbejder med interferens, dissonans og støjens teksturer. I al sin kraft er der både en ro og en vildskab. Læs resten