in briefrelease

Inside the Belly of an Alien Sonic Organism

Ideologic Organ / La Becque Editions, 27.03

Two of contemporary music’s most uncompromising material thinkers meet on Music for Intersecting Planes: the American organist Kali Malone and the French cellist Leila Bordreuil. Malone works with oversaturated blocks of sound and sonic mass as a sustained pressure, while Bordreuil seeks friction – her cello a recalcitrant organism that creaks and resists.

What they share is an ascetic attention to the specificity of their instruments. The organ and the cello are pushed to their outer limits, where recognizability dissolves and overtones emerge like hidden entities.

The title pieces, »Intersecting Planes I» and »II«, unfold as undulating ruptures of sound: animalistic, almost elephantine cries that surge forward and recede again. Only rarely can the sound be identified as organ or cello. (»Pilots in the Night« comes closest to a familiar balance between the organ’s gravity and the cello’s resistance.) Otherwise, the music moves within a field between the metallic and the electronic, as if the sound originates neither from strings nor pipes.

It is not mass that is being explored here, but rather a kind of hollowness: an airiness that is not light, but permeated by an indeterminate resonance – something ancient, almost ceremonial. The album holds something far more porous and open than Malone and Bordreuil’s earlier works. The sound appears as a concave form, bending inward, like an absence of material. The sonic landscape carries its own dissolution within it as an inherent delay – as if the music exists, first and foremost, as the erosion of something one thought one heard.

English translation: Andreo Michaelo Mielczarek

in brief

11.07

Fata Morgana Between Two Continents

Niels Lyhne Løkkegaard & Michael Pisaro-Liu: »Fata Morgana«

Edition Wandelweiser Records, 17.08

Therese Wiwe Vilmar

Back in the day, people watched Beverly Hills 90210 simply because it filled the flow-TV schedule. Artist Niels Lyhne Løkkegaard, too, spent his youth wandering through those virtual Californian landscapes. In the project Fata Morgana, Løkkegaard and American composer Michael Pisaro-Liu explore this strange experience between place and fiction. With the alto recorder as their weapon, they invite us both home and away. And, as a nostalgic homage to bygone media realities, the project comes with an A-side and a B-side. It begins with »Visit«: the crackle of forest floor near Løkkegaard’s childhood home in western Jutland, recorded in 2021. The microphone is placed somewhere, a few steps are taken – and then silence... Far away, the alto recorder begins a melody surrounded by birdsong. This homely soundscape is woven into the listener’s own sense of place. Was that a car driving by – here? Or there?

On the B-side, »Visitation«, Pisaro-Liu repositions the flute piece in California in 2024. The tension rises; the melody is visited and haunted from the other side of the globe. It is disturbed and distorted by electric signals, siren tones, interfering noise, and fragments of American voices murmuring things about »fever dream« and »not anything in particular.«

For indeed, there isn’t really anything. It’s classic Løkkegaard: an imagined world unfolding in the listener’s mind. It could have been done in less than 2x22 minutes, but the idea is strong, simple, and well executed. Like the sonic version of a cartoon mirage shimmering falsely in the sharp Californian sunlight.

English translation: Andreo Michaelo Mielczarek

playlist

05.07

My name is Mark Solborg – would you like to see my playlist?

»For me, music is the light that streams in through our windows and touches the human mind. Music is community – something we create together. Music is the other language – the one that can be spoken when all words and conversations have been worn to pieces.«

Mark Solborg is a Danish-Argentinian guitarist, composer, and improviser, educated at institutions including the Rhythmic Music Conservatory and New School University in New York. He has released 28 albums of his own works and collaborated with figures such as Evan Parker, Susana Santos Silva, and Herb Robertson – often on the artist-run label ILK, which he co-founded. His music has been performed in 23 countries and involves musicians from 15 nations. Projects such as TUNGEMÅL and BABEL explore the role of the electric guitar in acoustic spaces, and his practice also includes collaborations with theatre, film, and visual art. Solborg is a recipient of a Reumert Award, has been honored by the Danish Arts Foundation, and in 2024 was nominated for a Danish Music Award as Composer of the Year. He is currently releasing the album Confluencia.

in briefrelease

04.07

When Machines Dream: The Electronic Poetry of Oh No Noh

Oh No Noh: »As Late As Possible«

TELESKOP, 04.04

Martin Funder

There’s something distinctly mechanical about Oh No Noh’s album As Late As Possible. Like a warped, crumpled tape, melodies bubble to the surface, and the offbeat rhythms repeat with the halting tempo of a scratched LP. It’s easy to place Oh No Noh within the esteemed German tradition of blurring the lines between human and machine, but on As Late As Possible, the machine sounds more like a distant relative than a deliberate artistic objective.

Behind Oh No Noh is Leipzig-based guitarist Markus Rom. In addition to a wealth of synthesizers and tape loops, the album’s 11 tracks are performed using guitar, drums, banjo, clarinet, and organ. The absence of vocals sets the album in a subdued, cinematic mood, and the music feels like a nostalgic inner monologue, told with a warm affection for the melancholy of outdated technologies.

Although mechanical sensibilities are prominent throughout the album, several tracks are driven by more melodic band arrangements. But to me, As Late As Possible is clearly most compelling on the less melodic pieces. The crooked and noisy »Fawn« or the hesitant closing track »Ore« are moments where the dialogue with the machine elevates the music in ways that the more melodic, band-oriented pieces don’t quite reach. These are places where the machines sigh nostalgically and form small, imperfect thought bubbles that cut off and restart again.

English translation: Andreo Michaelo Mielczarek

playlist

03.07

My name is Halym Kim – would you like to see my playlist?

»Music for me is like a sourdough. If you don't feed it right it is going to die. If you feed it correctly a lot of people can benefit from it.«

Halym Kim is a drummer, composer and project coordinator based in Copenhagen. His music is mainly based in free improvisation and experimental music but performs also as a traditional Korean percussionist. He has a Master and an Advanced Postgraduate Diploma in Music Performance from RMC in Copenhagen. Together with Nana Pi he organizes Impro Camp which is a music camp for free and structured improvised music that is happening every year in Fredericia, Denmark.

playlist

03.07

My name is Nana Pi – would you like to see my playlist?

»Music for me is a tool of infinite expression. It’s where I’ve had the most complex conversations and open-minded experiences. It is the highest form of energy I know.«

Nana Pi is a saxophonist, composer and conductor working within the experimental music scene. She has developed a unique musical vocabulary on the saxophone by incorporating objects and extended techniques, pushing the boundaries of sonic expression. Beyond her work as a saxophonist, she is known for conducting improvisation using her music sign language, Extemporize, for which she received the P8 Jazz Award Årets Ildsjæl in 2020. She is a member of the well established record label Barefoot Records. In addition to her musical career, Nana Pi is organizing events such as Impro Camp and FredagsJAM that focuses on creating networks and inspiring music environments between musicians.