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Håvard Volden og Streifenjunko feirer plateslipp med dobbeltkonsert på Kunstnernes Hus lørdag 27. oktober kl 20! Til denne eksklusive anledningen har Streifenjunko invitert med seg den eminente videokunstneren Kjell Bjørgeengen som også har laget coveret til Streifenjunkos nye plate.
Konsertstart: kl 20:00 (presis) Inngang: 150 kr (kontant eller Vipps)
Om musikkere
Håvard Volden er en norsk eksperimentell gitarist som bor i Oslo siden 2006. Han er kjent for samarbeidet med Jenny Hval siden 2008, og hans instrumentale noiserockjazz band Moon Relay. Han har også flere andre aktive prosjekter, som den svensk / norske elektroakustiske trioen Muddersten og en duo med den italienske percussionisten Carlo Costa. "Space Happy" er Håvard Voldens andre soloalbum.
De to musikerne vi møter i Streifenjunko er betydelige instrumentalister og improvisatorer og er med i en rekke prosjekter i ulike musikksjangere. Eivind Lønning (trompet, elektronikk) og Espen Reinertsen (saksofon, elektronikk) har spilt sammen i denne duoen siden 2006 og har således opparbeidet en særdeles intuitiv og god kontakt i sitt improviserte univers.
Kjell Bjørgeengen har i ei årrekkje vore ein av landets fremste videokunstnarar. Han byrja som fotograf på slutten av 1960-talet, men fokuserte seinare over mot videomediet. I 1982 reiste han til New York, og på The Experimental Television Center vart han kjend med nye teknikkar for bearbeiding av videobilde som braut med tradisjonell tv- og videoteknologi. I 1996 vart han tilsett som professor ved Statens Kunstakademi, med ansvar for undervisinga i nye digitale medie. Videoarbeida hans har vore presenterte i ei lang rekkje utstillingar i inn- og utland.
Review of Streifenjunko "Like Driving"
Streifenjunko has taken a shift towards electronic sounds. Their previous albums "No Longer Burning" (SOFA 2009) and "Sval Torv" (SOFA 2012) was remarkable in the magnificent sound achieved only with a saxophone and trumpet. With the seemingly endless possibilities of electronic instruments their strategy of finding simple tasks has been put to the test, and in the making of this album Streifenjunko was put back to the starting position to re-discover their focus and recognisable simplicity. The result is music with sharp edges and sudden changes, crude starting and stopping. The engine of the music is the interlocking of slow moving streams. Some of the electronics are self generating for Espen and Eivind to follow, and the different sounds and layers are multiplexed using starting and stopping signals. To play is simply to follow the signals, like driving.
In the first episode of the new Twin Peaks series, a man - a security guard or janitor kind of guy - is staring intensely into a human sized glass compartment. There is nothing Inside it but the image of his own reflection, but the intensity of the scene and the man’s gaze is high, as if a monster could appear inside the compartment at any time. We get the feeling this box is a portal to another dimension.
Space Happy sounds like this kind of mysterious box or portal. Several pieces are built around field recordings or sounds of electricity, the type of sounds that exist in empty rooms or scenes in movies before anything happens. Elsewhere, sounds of different electrical instruments are assembled, stacked, cut and pasted, looped or layered with fast tape echoes, sounding otherworldly, yet familiar and lo-fi.
The record is reminiscent of an archival collage of the past fifty years of electronic music, run through a tape machine in space, but at the same time it is the very personal and very intimate work of a single composer and their own sounds. Sounds that never build into the shapes you would think, but keep evolving on their own entrancing path.
Perhaps this is why Space Happy sounds so contemporary, yet difficult to place in the landscape of contemporary music or composition. It sounds more like a work of film or visual art, in which the images are replaced by sounds, and any sense of narrative is replaced by intense, beautiful mystery.
