In briefrelease

70 Minutes Confined to a Creaking Construction Site

Gayle Young & Robert Wheeler: »From Grimsby to Milan«

The Amranthen is a peculiar string instrument, invented and built by Canadian instrument maker Gayle Young. It consists of a wooden box fitted with 21 steel strings and three bass strings, and its unique, organic timbre unfolds on From Grimsby to Milan, where Young improvises alongside American musician Robert Wheeler on synthesizer. The recordings from Grant Avenue Studios capture the encounter between the acoustic and the electronic in a loosely shaped, raw musical flow.

Across nearly 70 minutes divided into six parts, the listener is kept in a state of constant uncertainty. The sonic landscape resembles a noisy, dystopian construction site: on »Seaweed Slowly Shifting«, bows are drawn with a saw-like rasp, fingers scratch, machines whirr, and sharp electronic zaps flash like warning lights. Later, bells and pulse-like rhythms enter on »Mariana Trench«, while »Consonant Harmony« slows the pace, settling into a subdued, crackling atmosphere where sparse melodic gestures suggest a momentary lull in the turmoil.

The construction-site metaphor fits well, for the most compelling version of this project would likely be to experience Young’s handmade instruments live, in direct dialogue with Wheeler’s electronics. As an audio recording, however, the project remains closed-off and somewhat insular. And although From Grimsby to Milan contains a wealth of fine detail, the journey – from Grimsby in Canada to Milan in Ohio – ultimately feels long and monotonous, without ever offering the listener the key to unlock its dystopian worksite.

English translation: Andreo Michaelo Mielczarek

Playlist

12.08.2024

My name is Jay Campbell – would you like to see my playlist?

»Music is limitless, and its potential for meaning is infinite. This is neither good nor bad, but simply an acknowledgement that music is one kind of expression of any given culture (with many other inputs, of which I am mostly ignorant). From that perspective, I suppose then that music is just another medium through which I try to understand another human and/or the culture that they exist(ed) in, and more deeply feel the interconnectedness of the world that we live in, that we have inherited, and that we will pass on.«

Currently the only musician ever to receive two Avery Fisher Career Grants – in 2016 as a soloist and in 2019 as a member of the JACK Quartet – cellist Jay Campbell has brought his eclectic artistic interests both as a performer and curator to the New York Philharmonic, Deutsche-Symphonie Orchester, Los Angeles Philharmonic, Seattle Symphony, Ojai Festival, Lucerne Festival and many others. Deeply committed to collaborative music, Jay is a member of the JACK Quartet, as well as the Junction Triowith violinist Stefan Jackiw and composer/pianist Conrad Tao, multidisciplinary artist collective AMOC, and frequently works with composers and performers like Helmut Lachenmann, Patricia Kopatchinskaja, Barbara Hannigan, John Zorn, Tyshawn Sorey, and many more from his own generation.

In brieflive

05.07.2024

A World of Contrasts – and a Touch of Smurf Vocals

Roskilde Festival: Slauson Malone 1

Roskilde Festival, Platform, 03.07

Sune Anderberg

The cello is everywhere at this year’s Roskilde Festival. Some use it as just about anything else – hey, now it’s an electric bass, or how about a keyboard drowned in effects – but in American Jasper Marsalis’ Marcela Lucatelli-worthy bomb project Slauson Malone 1, the cello was actually used as, well, a cello.

Marsalis himself handled vocals and electric guitar on the open Platform stage, while Nicholas Wetherell opened the concert with a motor-race assault on his amplified cello, then pivoted into plucked meditations, to which Marsalis contributed overtone playing on guitar. Sensitive jazz guys? Nope – suddenly: synchronized noise sprints, intimacy splintered, and before long Marsalis threw himself into the seated audience with a somersault – and a scream.

Meanwhile, Wetherell played tender vibratos. Because contrasts thrive at Roskilde – and, after all, seem to be driving the world forward these days. And so it was the world itself that came into focus in the music: through violent shifts between 8-bit Smurf vocals, ambient gnawing solo cello, intimate indie layered over a one-second sample of Cher – culminating in a wistful lullaby veiled in digital theremin.

In many ways, it was peak hipster era. But it was also intensely moving – something like following Mahler out on the edge of the abyss as he tried to sketch the whole world into his scores. The only difference: the easel looks a bit different today.

Playlist

12.06.2024

My name is Jussi Parikka – would you like to see my playlist?

»Music involves a mix of noise, of existing or fabricated instruments, of alternative worlds that the sounds and voices assemble. Some are gentle, some less so. We shift gears with music, it shifts intensity, we shift with it. I listen when I can.«

Jussi Parikka is a Finnish cultural historian and writer who works at Aarhus University as professor of Digital Aesthetics and Culture. After some 15 years in the UK, he continues in Denmark his work on how ecology, digital culture, art and design, and philosophy intersect. He has written on visual culture and history and archaeology of media, including the recent books Operational Images (2023) and Living Surfaces: Images, Plants, and Environments of Media (2024) which is co-authored with the Madrid-based artist Abelardo Gil-Fournier. Besides his writing and work as educator, he has been active as a curator including the recent show Climate Engines at Laboral, in Gijon (Spain) that was co-curated with Daphne Dragona as well as his involvement in the curatorial team of Helsinki Biennial 2023.

In brieflive

09.04.2024

Ballet’s New Power Duo

Josefine Opsahl: »Passengers of Passing Moments« (Koreorama nr. 01)

Det Kongelige Teater, 22.03–30.04

Sune Anderberg

Josefine Opsahl herself sits on stage in the Australian-Danish choreographer Tara Schaufuss’s ballet Passengers of Passing Moments, for which Opsahl has composed the music. In fact, she almost steals all the attention from the ten dancers, as it is fascinating to watch the 32-year-old cellist’s theatrical immersion and her very active use of her right leg to control the loop and effects box.

The nearly half-hour ballet score is inspired by Bach, but also conveys a highland-like sense of drama through sampled breathing, stabbing subdivisions, and pronounced reverberation. It begins with delicate, bright major-key tones, but quickly moves into the depths, finding throbbing bass and timpani-like resonance. Emotions rush through every bow stroke.

The theme of the ballet is time. In fleeting moments, the dancers are caught in Opsahl’s small, mechanical loops; later, a dark, melancholic space is established, in which a young woman sinks into a memory. Extended sounds and overtones signal a time put out of joint; a faint wind is heard, a ticking fades in, and suddenly she has dreamed her beloved into being.

The woman moves like a ghost among the other bodies as Opsahl intensifies her playing, shifting between triple and quadruple meter. At one point, it is as if she disappears entirely into the violent temperament of the music; her dramatic flair turns Bach into an Avenger-like hero, and this suits Schaufuss’s focus on the force of emotions remarkably well. It is saturated, direct, and seemingly made for a grippingly intense choreography. A powerful partnership on the grand stage.

Playlist

02.04.2024

My name is Alexander Tillegreen – would you like to see my playlist?

»Music is a full bodied, raw and physical exchange. It’s an absorption that is overwhelming, that sometimes grants you relief. Music is interactive, and depends on you as a listener.«

Alexander Tillegreen is a composer and artist who operates both visually, sonically and spatially. He works in a plurality of formats including multichannel sound installations & performances, interactive listening sessions, paintings, prints, light and concerts as well as exhibitions, commissioned works, and releases. In 2023, he presented a cycle of new commissioned sound works for the Darmstädter Internationale Ferienkurse für Neue Musik. Same year, he released his debut album in words on the acclaimed German electronic music label rastermedia.

Alexander Tillegreen’s work has been the subject of numerous institutional solo and group exhibitions including: A Bruit Secret – Hearing in Art at Museum Tinguely in Basel (2023), O-Overgaden Institute for Contemporary Art in Copenhagen (2022), FuturDome Museum in Milano (2022), Kunstverein Göttingen (2022), Kunstforeningen GL Strand (2023), Museum für Moderne Kunst in Frankfurt (2017), and The National Gallery of Art in Copenhagen (2008). He has presented his music at many festivals and venues including STRØM Festival, Roskilde Festival, and CTM Festival.

His most recent work investigates the relationship between psychoacoustic sonic phenomena and their potential to reflect and awaken the listener’s own linguistic and cultural embeddedness and co-creative embodied, interaction as a listener.

He has been conducting artistic research at the Max Planck Institute for Empirical Aesthetics. This research centers on aspects of attention, spatial sound, voice, gender, identity, embodied co-creation, and language perception in relation to the phantom word illusion – a language-based psychoacoustic phenomenon, that triggers the illusory sensation of hearing inner streams of words that are not necessarily acoustically present.

In 2024, Alexander Tillegreen will represent Denmark at the ISCM World New Music Days on the Faroe Islands.