Emil Karlsen is a Norwegian improvising drummer currently based in the UK. Described as a "significant addition to the UK free jazz scene" and an "exceptional improv drummer," he's establishing himself on the improvised music circuit, working the span from free improvisation to free jazz. Occupied with exploring timbral possibilities of the drum kit, he performs with Philipp Wachsmann, Matthew Bourne, Phil Durrant, Maggie Nicols, Ed Jones, and the London Improvisers Orchestra, to mention some.

What is your relationship to music?

Music-and more specifically, freely improvised music-represents to me a vehicle for uninhibited self-expression. The act of improvising is inherently radical, and its core values of non-hierarchy and freedom speak to universal ideals. Whether these values are always upheld is another matter, but for me, they remain ideals I strive for in any musical setting.

What draws you to the instrument(s) you play, and/or to composing?

My dad is a jazz drummer, and I was introduced to the drums before I was old enough to choose whether-or which-instruments to play. Over the years, what I've come to enjoy most, especially in improvised settings, is the intuitive nature of percussion. Anything that can be struck, brushed, or rubbed becomes part of the instrument, and the slow process of building a unique collection of sounds is something I find intriguing.

What groups or musical communities have you been part of, and how have they influenced your playing or composing today?

Growing up in Norway, my formative years were spent listening to jazz and freejazz, often from Scandinavian groups such as Atomic and Motif. I moved to the UK in 2017, and it was at this point I was exposed to the British free improvisation scene, an interest accelerated by my studies with great drummer Mark Sanders. Prior to my studies with Mark I was primarily working in the North of England, with a few exceptions, but it was via him that I got a direct connection with the London scene and the London Improvisers Orchestra specifically.

The LIO has since its founding in 1997 been host to many defining improvisers with original members still active like Philipp Wachsmann, who has been very influential in my development as an improviser.

Being surrounded by people who shaped the course of this music has no doubt been crucial in my development, and I see my practice as a continuation of a long lineage of artists, especially now with an active role in the historic Bead Records.

What musician(s) most influenced your approach to music, and why?

This list isn't and will never be complete but I would like to use this opportunity to talk about a few central collaborators and their influence on my playing.

Meeting Philipp Wachsmann in 2019 has been transformational in how I think about improvisation. His emphasis on the importance of distinct 'personalities' within a group context has deeply influenced my understanding of interaction and individuality. I had up to that point prioritised continuity and finding a 'collective' sound. Phil can of course do all of these things, but he also introduced ideas of creating tension through contrasts, being brave and 'sticking with one's own ideas'. His generosity in embracing contributions from his fellow musicians is something I admire.

Other collaborators influencing my playing in one way or another through conversations and musicking are among others Maggie Nicols, John Butcher, John Edwards, and Dominic Lash - again, the list isn't complete!

Someone who needs a special mention is Phil Durrant, a now long-standing collaborator who steered my playing into a more 'small sound' aesthetic in lack of a better term. We met while I was still studying music at university and we have since established many ongoing projects, including a trio with Maggie whose first record is currently being mixed. My work with Phil opened my playing up to a whole new range of possibilities and made me rethink how I approach percussion.

Who or what influences you most outside of music, and why?

Mies van der Rohe, Ingmar Bergman, Joan Didion, the Bauhaus School, Lee Krasner, David Lynch, the list goes on..

What advice would you give to a young musician entering your field?

Listen, be open, question what you do and why you do it.

What do you hope audiences take away from experiencing your music?

I hope they take what they need from it.

Where do you see the music you're involved in heading in the coming years?

If I looked back two years ago, I never would've imagined I'd be making the kind of music I'm making today. I like to think that, in the future, I'll look back at this moment and feel the same way.

I recently received an Art Council England grant to develop new techniques for solo percussion. My first statement as an improviser was, in fact, a solo record. Since my UK tour in 2019, however, I haven't actively sought out opportunities to work in this format. In the meantime, I've been involved in a range of other formations, from duos to large ensembles. Returning to what initially sparked my journey as an improviser is something I've wanted to do for a long time, and I'm pleased to now have the support to do so.

My approach to this new project is quite methodical and analytical-a way of working that's unusual for me. I'm documenting the process through a quarterly newsletter and collaborating closely with a local arts centre and radio station, where I share works-in-progress, creating a feedback loop with the "audience".

I'm curious to see how my solo playing evolves, and how it might, in turn, feed back into my other projects. Performing solo is a nice way of assessing where you are as an improviser.

At the same time, I'm continuing to develop my existing collaborations. There are concerts planned this year with my trio featuring John Butcher and Dominic Lash; Sveiğ, with James Mainwaring and Federico Reuben (our debut, Latent Imprints, is out now on 577 Records), and The Exu, featuring James again, this time in a trio with double bassist Dave Kane. As much as I enjoy ad-hoc collaborations, I'm also increasingly invested in developing long standing groups and believe this kind of sustained work opens up a unique set of possibilities.

Outside of performing and developing new works, I'm also pleased that Bead continues to go from strength to strength, with a full release schedule lined up for the year ahead.

Where are you currently located or musically associated with?

I'm currently based in the North of England, but see myself as UK based (the UK is about the same size as Michigan!).

What are some of your favorite recordings by other musicians or groups?

Too many to make a comprehensive list, but I have recently been enjoying 'Barcelona Series' featuring the late Sven Åke Johansen in collaboration with Andrea Neumann and Axel Dörner.

What are some of your favorite recordings that you have made?

I'm not sure I have favourites, but the two albums by my trio Spaces Unfolding, featuring Philipp Wachsmann and Neil Metcalfe are a central part of my work.

The trio, initially created as a vehicle for acoustic exploration, recorded its first album in St.Mary's Old Church in Stoke Newington resulting in the release The Way We Speak (2022). For the second album Shadow Figures (2024), we were joined by electronic processor Pierre Alexandre Tremblay. This time, the idea of acoustic influence was expanded, situating the trio within an environment reflecting on our relationship to technology, in times of vast (and dystopian!) technological advances. A lot of how I feel about improvised music is represented in these recordings.

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