Mia Zabelka/Henrik Meierkord/IcosTech

Jan Martin Smørdal/Ǿysstein Wyller Odden
Kraftbalanse
SOFA 593

Two European ensembles create alternate approaches to creating ambient-drone sounds mixed with improvisation. One is primary sequenced and electronic, while the other uses a string octet’s concentrated output to power fluctuations from a self-resonating piano. By definition both concentrate on musical anonymity, but crucially group performances don’t detract from the messages’ strengths.

A new variant on the first Aftershock disc from 2021, Vol. 2 beings back Vienna-based Mia Zabelka’s violin and electronics; Bangalore bassist, guitarist, drummer and sound mixer IcosTech’ sonic permutations; and plus the muted brass of Denver trumpeter Joshua Trinidad. Added this time is the string textures of  Gothenburg-based cellist Henrik Meierkord. More complex, the Oslo-based Kraftbalanse (power balance) follows a score by Jan Martin Smørdal and Ǿysstein Wyller Odden. The performance equips with voltmeters octet members violinists Vilde Sandve Alnæs, Miriam Bergset, Ragnhild Lien and Julija Morgan, violinists Torunn Blåsmo-Falnes and Tove Bagge, cellist Sverre Kyvik Bauge and double bassist Inga Margrete Aas so that they can respond to an affiliated piano’s resonance and timbre fluctuations, affected by constant changes in the power grid.

Slow moving with variable oscillations, Aftershock’s dense harmonies means that from the beginning textures resembling industrial factory construction, jet-plane buzzing and alternating currents constantly energized the performance as they fluctuate from foreground to background. Though taut violin and cello spiccato and sul ponticello slides pierce the undulating connections as early as “Introspective Initiations”, the second track, the almost formalized and seemingly unstoppable density means harmonization trumps individuality. Trinidad fares slightly better since the two tracks on which he’s featured make more space among the processed loops and telescoped wave forms so that his tongue-slapping brass notes and air forced through the body tube can be heard. Percussion backbeats hinted at on the first track are fully exposed on “Return to Shangri​-​la (Denied)”. However blending portamento trumpet triplets and a thick drum shuffle creates enough rhythm to intentionally or not suggest a brassy 1970s style  disco beat. Other sequences are distinguished by crowd noises that slowly get louder to mix with guitar twangs and frails, bell clanging, vibraphone like echoes and torqued fiddle pressure. Still it’s the extended “Primordial Chains”, which provides the best example of how this interlapping pressure works. Melding voltage buzzes and rugged burbles the crunched results create such organ-like amplification that the consequent tremolo timbres become almost symphonic. Later overdubbed electronic whooshes and tough drum whacks give way to a chromatic fiddle overlay. Double stroking violin and cello glissandi gradually increasing in volume to confirm the section’s solo/group duality during the concluding “False Modesty”. This ambient mix may fragment only slightly but the timbres achieved relate back to the introductory sequence.

Multiplying by four the number of live string players on the two extended sequences that make up the other disc. But any increase in individuality is likewise minimized. Essentially the key to Kraftbalanse appreciation is to follow its peaks and valleys without ascribing  additional meaning to the fluctuations, except for the composers pointed concern for the world’s energy crises. Although pitches, tempos and textures are sometime shaded with variations and intersections, the pipe-organ-like tremolo undulations extend concentrated harmonies. At point shriller sul tasto pressure is more obvious, and other times weeping sul ponticello rubs solidify tonal expansions. Overall though even as motif deviations occur, the harmonized and hypnotic interface makes the nearly undifferenced textures the main statement.

Complementary in sections, but each dedicated to individual  and densely structured creative programs, these European sessions show that ambience, electronics and improvisation can imposingly co-exist. That is if the music is composed and performed with decisive goals in mind.

–Ken Waxman

Track Listing: Aftershock: 1. Derived Intentions 2. Introspective Initiations (The Circadian Disrupt Part.2) 3. Primordial Chains 4. Tech 247 (Aftershock Part.2)* 5. Interlude 6. Predatory Influx 7. Faux Pas 8. Return to Shangri​-​la (Denied)* 9. False Modesty (Epilogue)

Personnel: Aftershock: Joshua Trinidad (trumpet)*; Mia Zabelka (violin, electronics, ambience and voice); IcosTech (guitars, bass, djembe and final mix) and Henrik Meierkord (cello and ambience)

Track Listing: Kraftbalanse: 1. 17:39:34 – 18:14:45 GMT +02:00 DST, 19.06.01 2. 18:15:54 – 18:51:20 GMT +02:00 DST, 2019.06.01

Personnel: Kraftbalanse: Vilde Sandve Alnæs, Miriam Bergset, Ragnhild Lien and  Julija Morgan (violins); Torunn Blåsmo-Falnes and Tove Bagge (violas);  Sverre Kyvik Bauge (cello); Inga Margrete Aas (bass) and Jan Martin Smørdal/Ǿysstein Wyller Odden (composers)