in brieflive

Two Singular Voices in Close Orbit

Lotte Anker & Fred Frith

Kristoffer Møllegaard. © Kristoffer Møllegaard

On Wednesday evening at 5e, the audience witnessed a meeting between two musicians who, in terms of stage presence, did not immediately seem to have much in common. Lotte Anker sat upright in her chair with either alto or soprano saxophone resting on her lap, while Fred Frith leaned forward over his guitar, pedals and the many small objects he used to force all manner of sounds out of his instrument. Stoic calm versus frenetic tinkering. Outwardly, they seemed like opposites. Musically, however, they were closely connected.

They hardly looked at each other during the set, yet seemed completely absorbed in the sound they were creating together. At times, the music was knotty and difficult to penetrate: un-guitar-like tones, percussive attacks, almost rock-like passages, rapid saxophone runs, long sustained notes, noise and overtones. Like a riddle that had no desire to be solved. At other moments, Frith created clear drones over which Anker moved with melancholy grace, sensuous and beautiful. It sounded like a wordless tale of darkness, fear and uncertainty, but also of light, hope and togetherness. The essence of life distilled to the meeting point between two of jazz’s great singular voices.

The concert ended with the evening’s most direct gesture between the two. A gentle tone from Frith’s guitar rang out continuously until he suddenly brought his hand down on the fretboard with a resounding thud and sent Anker a mischievous smile. A brief acknowledgement of the intense ride they had just taken the audience through.

English translation: Andreo Michaelo Mielczarek

playlist

13.06.2023

My name is Allan Gravgaard Madsen – would you like to see my playlist?

»In his music, composer Allan Gravgaard Madsen tries to create a better version of himself.«

Allan Gravgaard Madsen is a Danish composer based in Copenhagen. His most recent works include Träume nicht and Nachtmusik. He tries to create a better version of himself in his music – where his personality tends to be restless, chatty and has an active inner life, his music is controlled, simple and merciless in its expression. He is the recipient of the Carl Nielsen & Anne Marie Carl-Nielsens Hæderspris 2022.

in briefrelease

23.01.2022

Finnish Space Travel

Tomutonttu: »Hoshi«

Vauva, 02.12

Kristoffer Møllegaard

The Finnish multimedia artist Jan Anderzén has, with the album Hoshi, released under the solo moniker Tomutonttu, created a true little star. Not only because »hoshi« literally means »star« in Japanese, but above all due to the music itself. There is something cosmic, yet infinitely minute, about the sonic worlds Anderzén conjures—like a galaxy reflected in a puddle, or a space journey in a rocket carved from a hollow tree trunk. Synths emit busy, warm blips and bloops, while ultra-short vocal and instrumental samples create a recognizable blur. At once artificial and organic – soft, rounded, jagged, crackling.

Anderzén approaches sound with a playfulness I simply adore. His music is strange in an incredibly comforting way. It places me in a kind of colorful, trance-like state, only interrupted when, several times over the course of the album, I find myself smiling in delight at a particularly great sound. The synths on »Katse osuu sähköön!« The choral samples on »Kesä oli äkkiä ohi!« Milo Linnovaara’s flute on »Malta lausua ‘AH’!« And many more. Hoshi is an album packed with microscopic moments that together form a frayed, exploding, radiant, idiosyncratic whole—a stellar moment of just under 38 minutes.