Mats Gustafsson & Kimmo Pohjonen
© Maarit Kytöharju
© Ziga Koritnik
Finnish accordionist Kimmo Pohjonen is a world music giant with deep roots in regional folk and classical music, but his curiosity and openness have led him down many other paths, whether writing string music for the acclaimed Kronos Quartet or playing in the art-rock band KTU alongside King Crimson alums Pat Mastelotto and Trey Gunn.
Swedish reedist Mats Gustafsson is a legend in the improvised music world, but he’s routinely explored the world of punk rock, free jazz, and contemporary composition. On paper there’s nothing that suggests a collaboration, but Bogdan Benigar of the Ljubljana music fest Druga Godba envisioned something between them strongly enough that he proposed a duo performance for the 2024 edition of his festival where the spark was blinding.
The musicians instantly bonded, thrilled by the power of their joint music-making a shared love for ice hockey. They’ve been blending their seemingly incompatible sound worlds ever since, and Trost Records is delighted to release the project’s first album Two Balls are Enough.
In addition to wide-open ears both musicians have embraced carefully deployed technology to alter and enhance their respective air-powered instruments. There’s no missing the individual personalities in the visceral, hard-hitting music they’ve created together, but at the same time it finds them exploring new sonic worlds. Pohjonen’s ferocious opener “Ice Heaven” introduces a skittering club rhythm but the unison lines articulated by the duo indicate we’re embarking on a harrowing ride, marked by high speeds and coruscating solo lines, while his “Naga” is a shapeshifting marvel distinguished by wild dynamic swings and taut atmosphere. Gustafsson’s flute both slashes across and floats within the shape-shifting foundation of “Snow. Linat.”, an ominous composition by the reedist that veers from stormy atmospherics to folk-fueled beauty, including a riveting section highlighting the sheer lung power of the duo, Pohjonen’s organ-like chords ascending from hell to dance with Gustafsson’s garrulous baritone patterns. On the improvised title piece live electronics are deftly interwoven with Gustafsson’s fleet flute fingerings. on “Its Body Falls Open,” which could refer to the way the holes of his instrument become a conduit for feedback. While the closing piece “Backengrillen 1” may be named after the punk band Gustafsson plays in, the epic grandeur of the performance is surprisingly intimate and filled with rustic beauty.
The duo has been touring regularly over the last couple of years and with the release of Two Balls are Enough don’t be caught off guard if they show up in your town soon.
https://kimmopohjonen.com/
Swedish reedist Mats Gustafsson is a legend in the improvised music world, but he’s routinely explored the world of punk rock, free jazz, and contemporary composition. On paper there’s nothing that suggests a collaboration, but Bogdan Benigar of the Ljubljana music fest Druga Godba envisioned something between them strongly enough that he proposed a duo performance for the 2024 edition of his festival where the spark was blinding.
The musicians instantly bonded, thrilled by the power of their joint music-making a shared love for ice hockey. They’ve been blending their seemingly incompatible sound worlds ever since, and Trost Records is delighted to release the project’s first album Two Balls are Enough.
In addition to wide-open ears both musicians have embraced carefully deployed technology to alter and enhance their respective air-powered instruments. There’s no missing the individual personalities in the visceral, hard-hitting music they’ve created together, but at the same time it finds them exploring new sonic worlds. Pohjonen’s ferocious opener “Ice Heaven” introduces a skittering club rhythm but the unison lines articulated by the duo indicate we’re embarking on a harrowing ride, marked by high speeds and coruscating solo lines, while his “Naga” is a shapeshifting marvel distinguished by wild dynamic swings and taut atmosphere. Gustafsson’s flute both slashes across and floats within the shape-shifting foundation of “Snow. Linat.”, an ominous composition by the reedist that veers from stormy atmospherics to folk-fueled beauty, including a riveting section highlighting the sheer lung power of the duo, Pohjonen’s organ-like chords ascending from hell to dance with Gustafsson’s garrulous baritone patterns. On the improvised title piece live electronics are deftly interwoven with Gustafsson’s fleet flute fingerings. on “Its Body Falls Open,” which could refer to the way the holes of his instrument become a conduit for feedback. While the closing piece “Backengrillen 1” may be named after the punk band Gustafsson plays in, the epic grandeur of the performance is surprisingly intimate and filled with rustic beauty.
The duo has been touring regularly over the last couple of years and with the release of Two Balls are Enough don’t be caught off guard if they show up in your town soon.
RELEASES
LINKS
https://matsgus.com/https://kimmopohjonen.com/
