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Selektiv Hogst

by Koboku Senjû

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Nic Barnard
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Takashi Masubuchi
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wolfsdorf
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deichman650
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Robert Bresnan
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/
1.
Nedvekst (om å vokse nedover) 07:51
2.
Fanget under giftig bark 06:53
3.
På leting etter skygge 04:03
4.
Vintersøvn 07:49
5.
Dyr som blir spist av andre dyr 01:51
6.
Dypdrenering 08:26
7.
Alt starter med regn 08:24

about

Selektiv hogst, meaning selection cutting, is a continuation of the music developed on the album Varianter av døde trær, released on SOFA in 2008. Since then, the quartet has performed numerous concerts in Japan and Europe, finding a particular way of making music together. «Selektiv hogst» sees the former quartet of Tetuzi Akiyama, Martin Taxt, Eivind Lønning and Espen Reinertsen joined by the no-input mixing board of Toshimaru Nakamura, who is adding yet another level of timbral ambiguity to the group, creating a rich ensemble sound. Akiyama and Nakamura have both long been two of the leading improvisers from the Tokyo scene, and Lønning, Reinertsen and Taxt, are three young and active improvisers from Norway with an increasing reputation for their adventurous yet mature musicality.

Tetuzi Akiyama - guitar

Toshimaru Nakamura - no-input mixing board

Espen Reinertsen - saxophone & flute

Eivind Lønning - trumpet

Martin Taxt - tuba

Liner notes by Jenny Hval

Before I start listening to Selektiv hogst, I visit my parents in the south of Norway. They have experienced heavy snowfall this winter, and even after a week of warm weather, the snow is still covering everything – the piles are just slowly shrinking. I don’t really understand until my mother shows me a picture of their house from the week before. On the picture, the snow reaches high above the windows on the ground floor. Now, it’s just knee high. It hasn’t been melting, my father says, it’s just become more compact.

Later, when I sit down to listen to this album, I can’t help thinking about the snow compressing, becoming warm and heavy, retracting into itself, like a slow, punctured balloon. I hear instruments breathing together at the beginning of “Nedvekst”, the sound of granular material. Sometimes, I feel safe inside the sound of snow, other times I swear I hear ice cracking.
The titles of Selektiv hogst are referring to textures of wood and fur, not snow. Its vocabulary comes from the world of growth and decay, peace and fear in the natural world. When I put the titles together, I think of a wandering animal in a forest both threatening and beautiful. And so after listening to the album, I wander through the streets of the small, southern town like the animal of Selektiv hogst – watching my step, aware of invisible dangers, perhaps the heavy, grainy breaths through a tuba on “Fanget under giftig bark”. Around me, blocks of ice fall from rooftops onto the street, breaking on the asphalt, leaving diamond trails.
Back home, the snow disappearing into sounds and colours. Water drips from ice taps everywhere. Houses and trees appear from their snowy shells. In a garden, I see a pile of rust-coloured, rotten apples. I am constantly reminded of the process of rot and decay – materials softening, warming up, melting and giving life. All of a sudden I am no longer inside snow when I listen to Selektiv hogst, but inside the wood of a tree trunk. I think to myself that the ensemble Koboku Senjû (Varianter av døde trær) has given sound to the textures of life and death: not just abstract, bodiless ideas, but tree rings.

credits

released May 3, 2010

Recording location: Dokkhuset, Trondheim, Norway
Recording date: Saturday, November 15, 2008
Mastering technician: Toshimaru Nakamura
Mixing technician: Toshimaru Nakamura
Recording technician: Morten Brekke Stensland, Thomas Hukkelberg (track 5)

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