Assembling a wide range of percussive instruments accumulated through world travels, from Korean gongs to scrap metal sheets from Ethiopia, Paal Nilssen-Love presents an intense and wide-ranging solo percussion tour-de-force, recorded in Oslo by frequent collaborator Lasse Marhaug.
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Catalog ID: PNL031
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Recorded at the Best Studio in Oslo, Norway, in 2015.
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1. Ens Oots 07:28
2. Don't mess with Texa 10:23
1. agg 02:39
2. Rec re 01:33
3. The t joe m 01:02
4. Laces 04:02
5. Oots 07:18
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"Norwegian drummer and percussionist Paal Nilssen-Love is one of the most prolific and hard-working musicians in the field of free-jazz, improvised and experimental music of the last 20 years. With his numerous collaborations, projects and band constellations he spends most of the year on the road, and the few days at home running his PNL Records label and organizing two music festivals. His discography is immense and displays an artist intent on documenting his activities, allowing listeners to follow his development.
Now a new current in this discography is starting to appear: the solo. Previous solo recordings have been caught-in-the-moment live performances, like Sticks and Stones (2001), 27 Years Later (2005) and Miro (2010). In 2014 there was a shift in this approach with Cut and Bleed - which not only was a studio recording made at home in his apartment in Oslo, but also saw Nilssen-Love completely step out of his sonic fortress: the drum set. The set was replaced with a wide range of percussive instruments he had accumulated across the world throughout his travels, from Korean gongs to scrap metal sheets from Ethiopia - and everything in between.
If Cut and Bleed was the raw beginning of his new approach to solo percussion, with News From The Junk Yard it comes into full effect. Recorded and produced by noise musician and frequent collaborator Lasse Marhaug at his studio in Oslo, News From The Junk Yard is an incredibly intense album, with Nilssen-Love pushing the physical limits of his playing to the absolute threshold. Despite there being no overdubs or in-track editing the album is so sonically dense it at times resembles the music of noise artists like Merzbow, The New Blockaders and Organum - but the recording also reveals his interest in world music like Indonesian gamelan and Ghana gahu music."-PNL
"Norwegian drummer Paal Nilssen-Love is one of the busiest musicians in our galaxy, performing about 200 to 250 performances a year. His playing is often characterized by an amazing level of energy and intensity, but ironically such description of his work misses a large part of his art. Nilssen-Love always has been a sonic explorer, always challenging himself to find new ways of expressing his art and developing new sonic ideas, through new collaborators, free improvised formats and eventually also through solo drums sets.
News from the Junk Yard is his fifth solo drums album, following Sticks & Stones, recorded at the Sofienberg Church in Oslo in 2001 (Sofa Music, 2001); the live recordings of 27 Years Later, recorded at the Molde Jazz Festival in 2012 (released as cdr by Utech Records, 2005, re-released by PNL, 2010), and Miro, recorded at the at Foundació Joan Miró, Barcelona in 2008 (PNL, 2010), and the home recording of Cut & Bleed (iDEAL Recordings, 2014), introducing for the first time the wide range of percussive instruments he had accumulated across the world throughout his travels, from Korean gongs to scrap metal sheets from Ethiopia, later featured also in his power trio The Thing latest Shake! (The Thing/Trost, 2015).
News from the Junk Yard was recorded at the studio of Nilssen-Love frequent collaborator, noise master Lasse Marhaug, and continues to explore the sonic possibilities of Nilssen-Love collection of instruments, first featured on Cut & Bleed, now adding instruments from Indonesia and Ghana. This recording avoids any sort of powerhouse drumming as explored on 27 Years Later or Miro, still it is a very intense one.
Nilssen-Love creates dense percussive textures, often morphing his colorful assortments of metallic and wooden instruments into an abstract, otherworldly sound art, but with a remarkable command and focus. “Don’t Mess with Texa” stress how far he can transform the sounds of percussive instruments from the Far East into nuanced yet nervous drone that searches different degrees of resonance and reverberation, forming a lasting accumulating effect. “Agg” and “Rec Re” discover the sounds of the skins when pressured and manipulated in diverse manners, sounding now as weird, abstract noises, bringing to mind the manic noises of Japanese Merzbow or the sound artistry of David Jackman, aka Organum. “Laces” builds a multi-layered meditative and atmospheric net of tones and overtones out of clashes of gongs, cymbals, and other metal instruments. The last piece, “Oots”, is the only one that revolves around a playful theme, still, taking the percussive, resonant play with sounds into its intense, extreme terrains.
Highly impressive."-Eyal Hareuveni, Free Jazz Blog
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• Show Bio for Paal Nilssen-Love
"Paal Nilssen-Love was born in Molde, Norway, Dec 24. 1974, and raised at a jazz club in Stavanger, run by his parents. It was natural to choose his fathers drums as his instrument and jazz as his work. From 1990 on he took actively part in the jazz milieu in Stavanger and joined bands with established musicians such as trumpeter Didrik Ingvaldsen and saxophonist Frode Gjerstad. In many ways, these collaborations were essential as they pointed out the directions for Paal's later musical development and career. During his studies at the Jazz dept at the University in Trondheim, where the first self initiated bands were established, things developed really fast - and Paal was nationally acknowledged at the age of 20.
The forming of the quartet Element in 1993 in many ways represented the start of a new phase in Paal's musical life. Element musically became a platform for several other groups with bassist Flaten and pianist Wiik, and lead to collaborations with Iain Ballamy and Chris Potter, amongst others. Paal moved to Oslo in 1996, where he joined and/or took part in the forming of bands like Vindaloo, SAN, Håkon Kornstad Tio, The Quintet and Frode Gjerstad Trio. He later on got more into self initiated projects and collaborations with Swedish musicians, such as pianist Sten Sandell and saxophonist Mats Gustafsson.
Paal played his first solo concert in 1999, and since then the solo concept has been an important part of his work: "Everyone should try doing some solo work, just to feel who you really are and what gets you going". His solo album "Sticks and stones" was put out in 2001 on SOFA Rec.
Being active in several bands at the same time has always been Paal's deliberate working method. He is constantly conscious about the projects he is in, as his participation in each and one of them is fully dedicated. Playing is not about getting from start to goal, but rather being in an everlasting process, a continuous movement where each new piece of music performed is a prolongation of the latest. Hence, keeping focused and concentrating all energy around what's happening there and then is of greatest importance - as is the freedom in the music, the ability of being free within the expression.
All bands, although various styles and musical versatility in general, represent important pieces that make up a total, and all bands are formed or joined with a clear vision. Today Paal's portfolio includes Atomic, School Days, The Thing, Frode Gjerstad Trio, Sten Sandell Trio, Scorch Trio, Territory Band, FME, and various duo projects such as with reedmen Ken Vandermark, John Butcher, Mats Gustafsson, organist Nils Henrik Asheim and noise wizard Lasse Marhaug. And not to forget the recently joined Peter Brötzmann Chicago Tentet."-Paal Nilssen-Love Website (http://www.paalnilssen-love.com/biography.php)
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