Artist: Anders LindsjöTitle: Dry Body, Dry Bones
#ca338
Date: 2009-12-02
Keywords: improvisation, experimental, avant-garde, other
Tracklist:
01 - Forget, memory - 4:02 (320 kbps)
02 - Pap on the floor - 3:14 (320 kbps)
03 - Hereby (in Heby) Part one (w/ R. Strid) - 5:52 (320 kbps)
04 - Broisse - 7:57 (320 kbps)
05 - Hereby (in Heby) Part two (w/ R. Strid) - 3:10 (320 kbps)
06 - Eros Poli - 2:48 (320 kbps)
07 - Hereby (in Heby) Part three (w/ R. Strid) - 4:52 (320 kbps)
08 - Unlame - 3:03 (320 kbps)
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Introducing Lindsjö and his guitar, it would seem unjust to posit them in one corner or the other, even though his playing without apologies takes cues from past decades of string plucking. Old idioms are picked up, domesticized and wrapped tightly before pulled to a neck twisting uttermost – even venturing into the blues.
Just listen closely:
...koeeeeng...kttanngg...koiiii..tkk....
– Reichel? Bailey?
...badibadabibee//bu//ba//bú//bubebo...
– Al di Meola?
...kbjaa..e(x)......schrrm......baoiii...la-la-le(y)...
– Burkhard Stangl?
Possibly, but I'd say the whole lot of them – arguing about the same precise motion of finger against string. So where does this leave us in terms of 'style'?
The more I’ve seen Anders perform live, the less I am prone to think in terms of style and genre. Instead, listening to Dry Body, Dry Bones I just hear the familiar sounds of what I’d like to term Andersmuziek: le jeu de Anders – die Musik von Anders Lindsjö. This is the recorded output of an artist negotiating a number of improvised modes, having more to do with mapping out a distinctly personal, emotional expression than of securing a certain position within the diverse field of contemporary music.
This is a hint at the white spaces still scattered over the object and landscape commonly referred to as the guitar.
– Peter Henning, Malmö 2009
Anders Lindsjö made his first appearance as a free improviser on the legendary double album ”SOUNDS” together with Mats Gustafsson and Raymond Strid in 1989. A result of the first music festival presenting swedish improv music. Lindsjö would continue to work with numerous musicians in the field of free improv music up til 1996, and then retire from the scene as he had started to investigate desires in visual art. Raymond Strid, who appears on this release, early became somewhat a mentor and a source of inspiration. The music presented here, recorded 2007, is the first meeting between the two in nearly twelve years, and one of the first recording sessions after Lindsjös return.
Contact:
Anders Lindsjö:
http://www.myspace.com/anderslindsj
Raymond Strid:
http://www.efi.group.shef.ac.uk/musician/mstrid.html