The Squid's Ear Magazine


Olsson, Henrik / Aviva Endean: Split Series Vol. 2 (FRIM Records)

Part of the split series from Swedish label FRIM (Association For Free Improvised Music), this album presents the two solo concerts from an evening at Rönnells Antikvariat during the 2022 Sound of Stockholm festival, first from drummer Henrik Olsson performing on turntables & objects; then from Aviva Endean on clarinets, electronics, voice & plastic pipes.
 

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Personnel:



Henrik Olsson-turntables, objects

Aviva Endean-clarinets, electronics, voice, plastic pipes


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Label: FRIM Records
Catalog ID: 006
Squidco Product Code: 34548

Format: CD
Condition: New
Released: 2024
Country: Sweden
Packaging: Cardboard Gatefold 3 Panels
Recorded at Ronnells Antikvariat, in Stockholm, Sweden, on November 17th, 2022, by John Chantler.

Descriptions, Reviews, &c.

"Aviva Endean from Australia, Henrik Olsson from Sweden. Two different composers and performers in the global society of improvised music. What connects them is that they shared an evening at the bookstore Rönnells Antikvariat in Stockholm during the Sound of Stockholm festival in 2022. Now they also share this cd, the second volume in FRIM Records ongoing Split Series. They represent two distinguished voices, but there are similarities in that they both, in an improvised manner, take point of departure in music they have composed and performed before. In the case of Aviva Endean, it's a kind of live reworking of some similar ideas that she used on the album Moths and Stars (Room40, 2022). In the case of Henrik Olsson it's about memory and how the human factor affects it, when he revreates an improvised composition, Common Ground, he performed two years earlier.

From her debut solo recording for Norwegian label Sofa in 2018, in which she solely improvised on acoustic instruments, Aviva Endean developed new skills when it came to record Moths and Stars. In her own words it was a way of braiding disparate strands of sounds together, to play with the listener's sense of time and space, bringing our awareness to the tactile qualities of sound by using extremes of close mic techniques, pickups, and the use of recording in vast acoustic spaces. As on Moths and Stars, the composition presented on this cd features instrumental parts interwoven by not only lo-fi electronics and field recordings, but also with voice and of course clarinets. In creating different environments, in which she is in no rush of leaving, this is an evolving composition. The air streams from rotating plastic pipes and the pre-recorded field recordings and folkloristic flute telling a slightly different story from the electronically developed sounds of outerspace she is creating with all its comprehensive darkness. Into this sonic environment she brings her clarinets, letting them build new polyphonic surroundings with extended techniques and circular breathing. In thinking of the title Moths and Stars, the composition becomes quite physical in resembling earthly life and spacy emptiness, you could nearly call it a kind of old-time program music. In not only juxtaposing the sound sources, the acoustic with the electronic, the different techniques, Aviva Endean boldly takes the music into different moods and atmospheres. To bring an overtone flute, and even some psychedelic tones, into this electro-acoustic surround is a brave thing. And it turns out very well.

Ever since he was the drummer and percussionist in legendary band gul3 (Yellow3 in English), Henrik Olsson have made great contributions to the field of experimental music in Sweden. As composer and improviser, his curiosity and open-minded musical thought has brought him to a rich world of musical textures, quite often realized electronically through amplified sounds and with silence as a natural part of the musical result.

Even if you will recognize some of this on the composition represented here, the tools he uses are quite different than usual. It all started with an invitation to compose and perform at the sound/textile exhibition Common Ground in 2020 by Swedish composer Rosali Grankull and textile artist Hanna Norrna in the town of Strömstad. Inspired by the installation and its way of reaching out in the great hall of Lokstallet, Olsson soon felt a need to leave his comfort zone and find new tools to elaborate with. To balance the fragility and airiness he experienced in the installation of Grankull and Norrnas, Olsson decided to use acoustic sound sources as components for his own compositions. And with two self-made turntables and a battery of different objects he performed an acoustic DJ-set, working with the sounds of his own creation and the sounds from the existing sound installation, creating a music box of sorts. The "records" were as different as glass, a small drum or metalbowls, and working as a the "pick-up" was everything from a rubber ball to a bamboo stick or a sheet of aluminum.

A few days after the performance Olsson decided to record the solo composition, performed now out of his memory. And because of the idle situation of the Corona pandemic, he had plenty of time to continue working with this single composition. The result became 25 different recordings - Common Ground #1-25 - which later was exhibited and released as 25 unique pieces of art."-Magnus Nygren


Artist Biographies

"Henrik Olsson was born in 1975 in the village of Kyrkhult, a small industrial community in the south of Sweden. Studied classical percussion and received my MFA in 2001 at The Academy of Music and Drama, University of Gothenburg. I move freely between notated music and free improvisation, blending acoustic and amplified sounds with the use of contact microphones."

-Henrik Olsson Website (http://bjornbergborg.blogspot.com/p/henrik-olsson.html)
4/22/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Aviva Endean is an artist dedicated to fostering a deep engagement with (and care for) sound and music, with the hope that attentive listening can connect people with each other and their environment. She is active as a clarinetist, composer, improviser, curator, sound artist, performance-maker and collaborator. Aviva regularly works across a range of contexts including experimental and improvised music, new chamber music, creating theatre works which are designed to be listened to, and working on cross-disciplinary collaborations. Her work seeks to work beyond the boundaries of her art form, to reimagine the possibilities of a practice with sound.

Her debut solo release cinder : ember : ashes featuring improvisations and original compositions was released on Norwegian label SOFA in 2018 to critical acclaim, with reviews speaking to Aviva's innovation and virtuosity, and describing the work as 'captivating, sophisticated, stunning, miraculous' & 'trance-inducing'.

As a composer and performance maker, Aviva often explores expanding the audience experience of sound by creating unusual, spatially engaged, and participatory contexts for listening. Her recent original work in this area include 'Ping Pong Pop' a game piece for live spinning contrabass clarinet player, audience and ping pong balls (Dark MOFO), Sonic Labyrinth an immersive and interactive sound journey for children and adults alike (Castlemaine State festival/Art Play), Domicile a performance installation work inhabiting a family home (New Music Network mini series), Intimate Sound Immersion, a performance for one blindfolded person at a time (You Are Here festival), In the Half Light, a show for solo clarinet and immersive lighting design (ASTRA Chamber Music society) A Face Like Yours a sound work for video, foam earplugs and viewer (Darwin Festival, Sydney Contemporary Art Fair), Dual Rituals for clarinets and percussion (Bendigo International Festival for Exploratory Music), and Hapnophobia a site specific participatory work for 5x5x5 at the Melbourne Arts Centre.

Aviva is also active as a collaborator on interdisciplinary projects. She recently created an electro-acoustic sound design for Chunky Move's large scale immersive performance work Token Armies for the Melbourne International festival 2019. Her work was also featured in films Assembly by Angelica Mesiti for the Australian Pavilion at the Venice Biennale 2019, and The Empyrean by Amiel-Courtin Wilson. Other collaborative projects have included work with some of Australia's most exciting arts organisations and festivals, including The Australian Art Orchestra, Chamber Made, ASTRA, Punctum Live Arts, Ensemble Offspring, ELISION, TURA, Slave Pianos, Madeleine Flynn and Tim Humphrey, Geoff Robinson and Musica Viva. She has created work for festivals and concert series including Metropolis, INLAND, MONA FOMA Bendigo International Festival of Exploratory Music, WOMAD, Liquid Architecture, COMA, Dark MOFO, Melbourne International Jazz Festival, and The Melbourne Festival.

Aviva is the recipient of numerous Awards including the prestigious Freedman Music Fellowship (2015). Her work has been nominated for The Melbourne Prize, the EG music Awards 'Best Avant-garde/Experimental act' (2013 & 2018), and the Aria Awards 'Best World Music album' (2014). Her work with Justin Marshall 'I Am Hear' was awarded Best Kids Work at the Melbourne Fringe festival (2018).

Aviva was the inaugural recipient of the Australian Art Orchestra's 'Pathfinder' Music Leadership program, which offered her a one-year Associate Artist position with the company. Her other positions have included teaching as Monash University, working as 'Emerging Artist in Residence' with both Chamber Made and ASTRA chamber music society, and Associate Artist for the Banff Centre for Arts and Creativity (Canada).

Aviva has released recordings of her original and collaborative work with projects Crush Crush - a duo with Evelyn Ida Morris (Eastmint records), Quiver new music ensemble (Tone List), The Barons of Tang (Birds Robe), Prophets, Sludge Party, Mamushka, and Zulya and the Children of the Underground."

-Aviva Endean Website (https://www.avivaendean.com/biography/)
4/22/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Common Ground, version 26 33:33

2. What Calls in the Quiet (Moths and Stars live set) 31:08

Related Categories of Interest:


Electro-Acoustic
Organized Sound and Sample Based Music
Electronic Forms
Recordings by or featuring Reed & Wind Players
Turntablists
Objects and Home-made Instruments
Solo Artist Recordings
New in Improvised Music
New in Experimental & Electronic Music
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