released May 21, 2019
Adhara
Creative Sources Recordings (cs599)
Lars Bröndum: Modular synthesizer, Theremin
Per Gärdin: Alto/soprano saxophones
Recorded in Stockholm at Fylkingen 20/10 2018 (6) & 20/1 2019 (1)
and at EMS 29/3 2018 (5) & 16/10 2018 (2,3,4)
Recorded, mixed and mastered by Lars Bröndum
All compositions by Lars Bröndum/Per Gärdin
Front cover photo "Pencil nebula neighborhood" by Ignacio Diaz Bobillo
Inside photos by Emanuel Schütt
"Lars Bröndum (Modular synthesizer, Theremin) and Per Gärdin (Alto / soprano saxophones) recorded a singular encounter that deserves to be noted and carefully scrutinized. Lars Bröndum has developed a sound universe by taking advantage of the characteristics of two “vintage” electronic instruments: the modular synthesizer and the theremin. Per Gärdin uses the sonic properties of the saxophone to extend its expressive register through breath techniques and articulation of alternative timbres. Their respective games and their paths clearly stand out from each other to find themselves in key sequences, anchors of the thread of their improvisations. Bröndrum's work is situated in the refined and complex sphere of electronic music, a universe that personally does not really interest me in itself to the point of following its production, except when it is involved in free radical improvisation . I think of the work of Richard Barrett, Paul Obermayer, Lawrence Casserley, Richard Scott, Thomas Lehn, Willy Van Buggenhout. It is by this yardstick that we measure the complex and elaborate approach of Lars Bröndum, an artist to follow. It would be difficult to define his universe by listening to a single song, as he accumulates an astonishing variety of sneaky timbre effects, stretched tones, galactic glissandi, threatening drones, mad bells, elaborate percussions with high accuracy at intervals etc. in constant metamorphosis. Fortunately, by joining an instrumentalist of the caliber of Per Gärdin, he projects his installation in a dynamic and fruitful discussion that endorse his work and give it relief, flexibility and liveliness. The loops in circular breathing will seek resonant and squeaky harmonics which escape in the compressed ether and the infinite strata of the alter ego. The saxophonist spins the column of air, making its way through the synthetic jungle, crossing his fingerings with great intensity. The expressiveness and the feeling of his game, his lyricism are reinforced over the beaches while his colleague completely renews the decor and the colors of his instant research. It’s really a high caliber performance. The duo delivers substantial improvisations and their collaboration in the moment takes up the challenge of being listened to with attention and being scrutinized from every angle without having an instant feeling of repetition, or wanting to go to the next song . There are six tracks of which two are 15 and 20 minutes long. The constant challenge of the electronics operator's very wide registers pushes the saxophonist to go further to exceed its limits. The alto articulations is convincing when it methodically / spontaneously crushes the curls. From his efforts, a lyricism is expressed which illuminates their duo with a human, earthy, carnal dimension to which his partner responds with an increased sensitivity. It shows through as they progress. Remarkable."
orynx-improvandsounds.blogspot.com/2020/03/ross-lambert-phil-durrant-emil-karlsen.html?fbclid=IwAR1OKw4UHz5lTcwwV0WAjwz3g47rVueEVCKXz42mZhG1dXz2qw-3gBR1nVw
One of the most interesting European saxophonists is Per Gärdin, who operates from Stockholm. This musician is anything but a crowd pleaser; rather he is a researcher who, while playing, is always his stubborn self and always finds his way, whether solo or in the company of other musicians. He does not seem to impose restrictions and collaborations can therefore lead to unusual combinations of instruments. He combined his playing with that of a church organ and turntable percussion ( History of The Lisbon Chaplaincy , with Rodrigo Pinheiro and Pedro Lopes) and with electronics and drums / percussion ( Oblique (Trio), with Travassos and Marco Franco). In his recent work he opts for the lighter saxophones: alto and soprano. He did the same for his solo album Gabo, which was released in November last year .
On the new album Adhara , Gärdin forms a duo with the also Swedish musician Lars Bröndum. He is a brand new music professor at the University of Skövde. Bröndum is at home in composition and music theory, plays the guitar, but is also very regularly involved with electronics. Both musicians are at home in modern composed music. For example, Bröndum obtained his PhD in 1992 with a music-theoretical study of a chamber concert by György Ligeti and he also composes himself. In the past, Gärdin performed works by composers such as Cornelius Cardew and Terry Riley.
The two musicians do not compose on their joint album, or it must be instant composing. Gärdin can be heard again on alto and soprano sax and Bröndum is busy with a modular synthesizer and a theremin. In six pieces, three of which are short and three long, musical possibilities and the merging of sounds are explored. It is striking that the music sounds transparent; every note and sound comes out well.
Adhara opens with the fifteen-minute 'Wezen' A drone of the synth is accompanied by high tones of the sax, in which Gärdin makes much use of air and the valves of the sax can also be heard. The saxophonist, who understands the art of radiating a certain calm even when he plays fast notes, is improvising on an ever-changing electronic background, because Bröndum is not static creating hardly changing drones but does much more than just laying a drone. Bouncing and bubbling sounds, percussive sounds and movements from left to right give the music a lively but also enigmatic character. Gärdin doesn't seem to care. On the contrary:he feels like a fish in the water in the ever-fluctuating sounds of Bröndum and he effortlessly adapts his playing to the promptings of his musical companion, in which he continues to lay a fine sense of melody in his often long series.
With just under eleven minutes, the title piece is also one of the long pieces on the album. In the beginning, Bröndum plays a striking melodic role, although the experimental sounds he produces remain. Gärdin counteracts the multitude of electronic sounds by appealing to his high register and playing trills. Gradually he takes over the melodic role and Bröndum is percussive while at the same time laying a drone. Further on, Gärdin plays with a lot of air and with diffuse starters, as if they are produced with difficulty. Bröndum creates tension with pulsating sounds, playful motifs and incidental accents. The saxophonist plays on the edge of the altissimo register and beyond, while his companion creates organ sounds with his synthesizer. Those sounds change into electronic suspense, which increases in intensity.
The longest stretch on Adhara is 'Sirius C', which takes more than twenty minutes. It starts with percussive sounds, over which Bröndum lays a threatening, roaring drone and adds a pulsating high tone and sliding sounds. Gärdin follows the created tension through fluttering play with a lot of air and high tones. But nothing remains the same in the piece that contains the movement in the various musical finds that the two Swedes conjure from their instruments. Just like in the other pieces, you are on top of it as a listener; in a solo passage, in addition to the played notes, the sound of the valves and Gärdin's breathing can be heard. The music is constantly loaded with excitement by the mysterious and sometimes even ominous electronic sounds. However, Bröndum also introduces playful elements,such as an irregular rhythm and a melodic pattern, with which he provides light. Whatever the electronics musician makes up, Gärdin's response is always adequate; no challenge is too much for him and his musicality is so great that a creative answer follows every surprise. Even if Bröndum boosts the volume considerably in the final phase, the saxophonist remains proud of the musical fervor around him with not too intrusive means.
The three short pieces are located between the longer pieces. 'NGC2362a' has, among other things, an unstable rhythm, as if the electronic sounds are randomly struck on a keyboard. Gärdin navigates between the high and the top register, which also causes the necessary tension. 'NGC2362b' has an intense drone, under which ominous sounds move. The saxophonist forms the playful elements with his inventiveness. 'M41', finally, starts with a sliding theremin sound, followed by whirling sounds under water, which in turn are followed by busy beeps. The combination of the sounds also works, as appears later. Together with the undisturbed note-producing alto sax, it leads to a bustling piece of music that could have been a bit longer.
Those who like an audible musical voyage of discovery have come to the right place at Bröndum and Gärdin. On Adhara something is constantly going on, new paths are being explored and the musical possibilities seem almost limitless. The paragraphs above must be regarded as inadequate sketches of what is happening in the music of the two artists, who have the necessary musical experience and who, above all, put them to inventive use. Bröndum and Gärdin do not exhaust themselves in a musical display of power, but bring their two musical spirits together in a playful and imaginative way, without denying their individual voice. The result is impressive, even after several turns.
opduvel.com/2019/06/08/lars-brondum-per-gardin-adhara/
"This is music for both an inward listening and the entire universe, which can be accommodated in one's head with the help of mere thought."
Roger Bergner OJ Orkesterjournalen #4 2019
"The fact that woodwinds marry very well with electronic sounds is no secret.
For example, Joe McPhee & John Snyders (otherwise bizarrely underestimated) lp Pieces of Light (CjRecord Productions) proved this already in 1974. And Anthony Braxton's and Richard Teitelbaum's many collaborations - perhaps especially the double album Open Aspects '82 (Hat ART, 1982) - should be sought out / researched by all music lovers.
Lars Bröndum / Per Gärdin's upcoming CD Adhara is yet another feather in the hat for live electronics-meets-saxophone music, so to speak. The first time the Orchestra Journal's pre-listening editor heard it he said "a little Evan Parker here, a little Morton Subotnick's Silver Apples of the Moon there but a universe of its own in the end" - a good grade if anything!"
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