Spectres of Satie and Feldman loom large on Isak Edberg’s quietly haunting solo piano meditations, judiciously balancing slow melodic thought with resonant harmonic space and near-silence on a highlight of XKatedral’s recent run, coinciding the pivotal Swedish label’s 10th anniversary
‘Belt of Orion’ is a strong addition to the label that launched in 2015 with early works by its co-founders Kali Malone and Maria W. Horn, among others. The two part instrumental work arrives as Isak Edberg’s 2nd entry to the label after ‘Ondulations’ and a spot on the ‘XKatedral Vol. II’ comp in 2016, and was recorded during the years to follow, when he spent time sequestered with an old piano in south french countryside, improvising and feeling out its resonant voice via ritualistic reiteration and basking in near-silence between the notes.
From its initial french sketches, and firming up his ideas back home in Stockholm, Edberg’s piece is here performed by Mats Persson, a central figure in the city, who interpreted Edberg’s gestures over the course of two nights at the local arts space Fylkingen. The results give a certainty to Edberg’s quizzical, hesitative composition. In the A-side’s ‘Belt of Orion’ the fabric of space time is frayed to best expose a play of contrasts between an airy, languid lightness inspired by autumnal provençal landscapes, and a steady reification of certain phrases that return it to more stately formality. The flow of thought-time to ‘Vestiges’ on the other hand feels more fractured and interrupted by its own pondering, with subtly more hesitant harmonic structure breaking its own layers of stillness and flux of dark-to-light resolution.
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Spectres of Satie and Feldman loom large on Isak Edberg’s quietly haunting solo piano meditations, judiciously balancing slow melodic thought with resonant harmonic space and near-silence on a highlight of XKatedral’s recent run, coinciding the pivotal Swedish label’s 10th anniversary
‘Belt of Orion’ is a strong addition to the label that launched in 2015 with early works by its co-founders Kali Malone and Maria W. Horn, among others. The two part instrumental work arrives as Isak Edberg’s 2nd entry to the label after ‘Ondulations’ and a spot on the ‘XKatedral Vol. II’ comp in 2016, and was recorded during the years to follow, when he spent time sequestered with an old piano in south french countryside, improvising and feeling out its resonant voice via ritualistic reiteration and basking in near-silence between the notes.
From its initial french sketches, and firming up his ideas back home in Stockholm, Edberg’s piece is here performed by Mats Persson, a central figure in the city, who interpreted Edberg’s gestures over the course of two nights at the local arts space Fylkingen. The results give a certainty to Edberg’s quizzical, hesitative composition. In the A-side’s ‘Belt of Orion’ the fabric of space time is frayed to best expose a play of contrasts between an airy, languid lightness inspired by autumnal provençal landscapes, and a steady reification of certain phrases that return it to more stately formality. The flow of thought-time to ‘Vestiges’ on the other hand feels more fractured and interrupted by its own pondering, with subtly more hesitant harmonic structure breaking its own layers of stillness and flux of dark-to-light resolution.
Spectres of Satie and Feldman loom large on Isak Edberg’s quietly haunting solo piano meditations, judiciously balancing slow melodic thought with resonant harmonic space and near-silence on a highlight of XKatedral’s recent run, coinciding the pivotal Swedish label’s 10th anniversary
‘Belt of Orion’ is a strong addition to the label that launched in 2015 with early works by its co-founders Kali Malone and Maria W. Horn, among others. The two part instrumental work arrives as Isak Edberg’s 2nd entry to the label after ‘Ondulations’ and a spot on the ‘XKatedral Vol. II’ comp in 2016, and was recorded during the years to follow, when he spent time sequestered with an old piano in south french countryside, improvising and feeling out its resonant voice via ritualistic reiteration and basking in near-silence between the notes.
From its initial french sketches, and firming up his ideas back home in Stockholm, Edberg’s piece is here performed by Mats Persson, a central figure in the city, who interpreted Edberg’s gestures over the course of two nights at the local arts space Fylkingen. The results give a certainty to Edberg’s quizzical, hesitative composition. In the A-side’s ‘Belt of Orion’ the fabric of space time is frayed to best expose a play of contrasts between an airy, languid lightness inspired by autumnal provençal landscapes, and a steady reification of certain phrases that return it to more stately formality. The flow of thought-time to ‘Vestiges’ on the other hand feels more fractured and interrupted by its own pondering, with subtly more hesitant harmonic structure breaking its own layers of stillness and flux of dark-to-light resolution.
Spectres of Satie and Feldman loom large on Isak Edberg’s quietly haunting solo piano meditations, judiciously balancing slow melodic thought with resonant harmonic space and near-silence on a highlight of XKatedral’s recent run, coinciding the pivotal Swedish label’s 10th anniversary
‘Belt of Orion’ is a strong addition to the label that launched in 2015 with early works by its co-founders Kali Malone and Maria W. Horn, among others. The two part instrumental work arrives as Isak Edberg’s 2nd entry to the label after ‘Ondulations’ and a spot on the ‘XKatedral Vol. II’ comp in 2016, and was recorded during the years to follow, when he spent time sequestered with an old piano in south french countryside, improvising and feeling out its resonant voice via ritualistic reiteration and basking in near-silence between the notes.
From its initial french sketches, and firming up his ideas back home in Stockholm, Edberg’s piece is here performed by Mats Persson, a central figure in the city, who interpreted Edberg’s gestures over the course of two nights at the local arts space Fylkingen. The results give a certainty to Edberg’s quizzical, hesitative composition. In the A-side’s ‘Belt of Orion’ the fabric of space time is frayed to best expose a play of contrasts between an airy, languid lightness inspired by autumnal provençal landscapes, and a steady reification of certain phrases that return it to more stately formality. The flow of thought-time to ‘Vestiges’ on the other hand feels more fractured and interrupted by its own pondering, with subtly more hesitant harmonic structure breaking its own layers of stillness and flux of dark-to-light resolution.
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Spectres of Satie and Feldman loom large on Isak Edberg’s quietly haunting solo piano meditations, judiciously balancing slow melodic thought with resonant harmonic space and near-silence on a highlight of XKatedral’s recent run, coinciding the pivotal Swedish label’s 10th anniversary
‘Belt of Orion’ is a strong addition to the label that launched in 2015 with early works by its co-founders Kali Malone and Maria W. Horn, among others. The two part instrumental work arrives as Isak Edberg’s 2nd entry to the label after ‘Ondulations’ and a spot on the ‘XKatedral Vol. II’ comp in 2016, and was recorded during the years to follow, when he spent time sequestered with an old piano in south french countryside, improvising and feeling out its resonant voice via ritualistic reiteration and basking in near-silence between the notes.
From its initial french sketches, and firming up his ideas back home in Stockholm, Edberg’s piece is here performed by Mats Persson, a central figure in the city, who interpreted Edberg’s gestures over the course of two nights at the local arts space Fylkingen. The results give a certainty to Edberg’s quizzical, hesitative composition. In the A-side’s ‘Belt of Orion’ the fabric of space time is frayed to best expose a play of contrasts between an airy, languid lightness inspired by autumnal provençal landscapes, and a steady reification of certain phrases that return it to more stately formality. The flow of thought-time to ‘Vestiges’ on the other hand feels more fractured and interrupted by its own pondering, with subtly more hesitant harmonic structure breaking its own layers of stillness and flux of dark-to-light resolution.