<\/p>\n
Distilled experiences Well before he even has to think about hitting his thirties, Erlend Apneseth is already an extremely highly regarded musician. The music for his third album, Nattsongar, was composed as a commissioned work for the F\u00f8rde International Folk Music Festival in 2016, and together with his exceptionally skilled band, Apneseth combines musical elements from the four corners of the globe. \u201cIn this project I wanted to emphasise elements I feel all kinds of folk music share, from the gentle and intangible to the rhythmic and playful,\u201d Apneseth says. The music on Nattsongar was commissioned by the F\u00f8rde Festival in 2016, and was given its world premiere there. But the influence of the festival in the project goes far beyond the commission itself. Apneseth has a close relationship with the festival. In the cover notes he writes: \u201cIt was a great pleasure for me to write music for the F\u00f8rde Festival in particular, as it has provided me with musical inspiration from all over the world since I was a child. In many ways this event must bear some of the responsibility for my having become a musician.\u201d The work Nattsongar is Apneseth\u2019s attempt to distil his own experiences and encounters from the Festival, and is \u201ca sort of tribute to an event that accentuates what various traditions and cultures have in common rather than cultivating their differences.\u201d<\/p>\n
<\/p>\n
Well before he even has to think about hitting his thirties, Erlend Apneseth is already an extremely highly regarded musician. The music for his third album, Nattsongar, was composed as a commissioned work for the F\u00f8rde International Folk Music Festival in 2016, and together with his exceptionally skilled band, Apneseth combines musical elements from the four corners of the globe. \u201cIn this project I wanted to emphasise elements I feel all kinds of folk music share, from the gentle and intangible to the rhythmic and playful,\u201d Apneseth says.<\/p>\n
The music on Nattsongar was commissioned by the F\u00f8rde Festival in 2016, and was given its world premiere there. But the influence of the festival in the project goes far beyond the commission itself. Apneseth has a close relationship with the festival. In the cover notes he writes: \u201cIt was a great pleasure for me to write music for the F\u00f8rde Festival in particular, as it has provided me with musical inspiration from all over the world since I was a child. In many ways this event must bear some of the responsibility for my having become a musician.\u201d The work Nattsongar is Apneseth\u2019s attempt to distil his own experiences and encounters from the Festival, and is \u201ca sort of tribute to an event that accentuates what various traditions and cultures have in common rather than cultivating their differences.\u201d The material on the album ranges from meditative, fiddle-like tunes to what could best be described as folk-funk and folk-blues, as well as to long excursions into a more jazz-inspired and open musical landscape. Apneseth\u2019s Hardanger fiddle serves as the obvious common denominator throughout. The exceptionally capable band playing on the record must also be mentioned: Stein Urheim, Hans Hulb\u00e6kmo, Erik Rydvall and Ole Morten V\u00e5gan. Together the musicians have created the album\u2019s sonic expression, which according to the bandleader himself emerged \u201cthrough the encounter of the music and the band\u201d.<\/p>\n
The album was recorded at Engfelt Forsgren Studio with the highly experienced Christian Engfelt at the helm, except for the title cut, \u201cNattsongar\u201d, which was recorded live at its world premiere at the F\u00f8rde Festival in 2016. The title \u201cNattsonger\u201d (\u201cNight Songs\u201d) can be interpreted in many different ways. Obviously, it can be associated with the almost lullaby-like title track, but also with the melancholic, twilight-like atmosphere of several of the album\u2019s other tracks. And, as Apneseth asks, \u201cIsn\u2019t it the case that music somehow belongs more to the night than to the day?\u201d<\/p>\n
Erlend Apneseth Trio \/ Building Instrument Japan tour 20.5 – Nardis – Kashiwa (JP) 20.5 – Airegin – Yokohama (JP) 21.5 – Pit Inn – Tokyo (JP) 22.5 – Jazz Flash – Niigata (JP) 23.5 – La Sone – Jyoetsu (JP) 2.6 King`s Place, London<\/p>\n
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