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KIRKEGAARD, JACOB & NIELS LYHNE LOKKEGARD - Descending

Format: LP Label & Cat.Number: Important Records IMPREC 447 Release Year: 2017 Note: their first collaboration, a piece in two parts for 'room resonance, triangles, shakers and horns' performed by the Aarhus Jazz Orchestra, creating a very unusual acoustic / atmospheric surrounding... "Stunning work. A rare treat for the lugs, especially if you’re into Eliane RADIGUE, ELEH, Harley GABER, Harry BERTOIA." [Boomkat] ed. of 500 copies Price (incl. 19% VAT): €24.00 More Info Descending is a composition consisting of two movements for room resonance, triangles, shakers and horns. The recording was made in August 2015, performed by the Aarhus Jazz Orchestra. Descending is Løkkegaard's and Kirkegaard's first collaboration. About the composers: The sound artists and composers Jacob Kirkegaard and Niels Lyhne Løkkegaard are both renowned for their ability to convert sound into a form with the character of an artwork and a bodily dimension that can be experienced by more than the ears alone. In his art, Jacob Kirkegaard uses acoustic phenomena that are usually either overheard or inaudible to the human ear. Using a range of sensors and recording methods, the material unfolds in compositions and spatial, visual and sound works. Niels Lyhne Løkkegaard's art focuses on the multiplication of sound, extending it beyond its usual boundaries to re-emerge in new forms, as well as on the creation of imaginary musical works that the listener has to envisage before their inner ear. Jacob Kirkegaard (b. 1975) graduated from the Academy of Media Arts in Cologne in 2006. His sound works are published by Touch (UK), Posh Isolation (DK), Von Archives (F) and Important Records (USA). Kirkegaard's works have been presented at a wide range of renowned exhibition platforms, festivals and conferences worldwide, including MoMA and Issue Project Room & The Stone in NYC, KW & Transmediale in Berlin, Mori Art Museum and Aichi Triennale in Japan, as well as Louisiana Museum of Modern Art and ARoS Aarhus Art Museum in Denmark. Niels Lyhne Løkkegaard (b. 1979) studied at Denmark's Rhythmic Music Conservatory and the Royal Danish Academy of Fine Arts' School of Architecture. He has created a wide range of works operating at the intersection of experimental music and sound art, including the soundtrack for MoMA's René Magritte exhibition The Mystery of the Ordinary in 2013. More recently he has created the critically acclaimed series SOUND X SOUND. Lyhne Løkkegaard is also the founder of the curatorial non-event Curatorium – a sound festival that never takes place. ************************************************************************************************************ Composed, arranged and mixed by Kirkegaard and Løkkegaard, 2015 - 2016 Performed by Aarhus Jazz Orchestra and recorded by John Fomsgaard live at Dokk1 in Aarhus, 2015. Front cover: Detail from Robert Fludd's Macrocosm Microcosm (1617-24) Supported by The Danish Arts Foundation & The Danish Conductors Association Jacob Kirkegaard: www.fonik.dk Niels Lyhne Løkkegaard: www.nielsloekkegaard.dk importantrecords.com/imprec/imprec447 "Presenting two compelling works composed by Danish sound artists Jacob Kirkegaard & Niels Lyhne Løkkegaard and performed by the Aarhus Jazz Orchestra, Descending is a powerful exposition of extended acoustic technique used to bend the ear in fascinating ways. Revolving two pieces for room resonance, triangles, shakers and horns, the recorded results of Descending transcend the sum of their parts in gripping style. In Movement 1 they conduct a breathless transition from the polymetric interplay of triangles, sounding like a distant alarm bell, calving off into thinnest, cirrus timbres and reemerging as a mesmerising display of sustained, quivering, bittersweet horn dissonance culminating a stunning, keening finale. Movement 2 opens with those horns at a lower, sustained pitch, rolling across the stereo field with an uncanny precision that you would normally expect from electronic music, glacially growing in density to sound like an incoming Stuka formation, precipitating a nerve-biting swell of discord before returning, almost palindromic, to the polymetric rustle of shakers. Of course, the magick of the piece is much harder to describe, though. It lies somewhere in the relationship between the knowledge of the composers, the players’ incredible skill, and their recording space, whose unique characteristics are crucial to its success in keeping us enthralled from start to finish. It lies in the way they slide the sound around the sphere of perception, purposefully generating and controlling the resonant feedback until it becomes a part of the work itself, generating a lingering harmonic aura to the sounds which gels them in smoothly contoured transitions between each tightly disciplined cluster of pitches with a near-enough metaphysical structure. Stunning work. A rare treat for the lugs, especially if you’re into Eliane Radigue, Eleh, Harley Gaber, Harry Bertoia." [Boomkat]