Peter Jørgensen ”Alt i stykker” (No Technique, 2019) – review by Giuseppe Pisano
Along the years Peter Jørgensen has developed a compositional style that shares common elements with both the new wave of Scandinavian electronic ambient music and the modern-classical long form experimentations of either minimal-music composers such as Morton Feldman and more recent figures in the contemporary music panorama such as Anthony Pateras.
In this sense his new album “Alt i stykker” continues the statement made with the previous release, “Gold Beach”, and delivers us two formally beautiful long pieces of what I would define as instrumental drone music.
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.
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.
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 “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