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Phantasmagoria, or A Different Kind of Journey

by The Eivind Aarset 4-tet

supported by
Dave Lynch
Dave Lynch thumbnail
Dave Lynch Fans of Eivind Aarset’s ambient side who also hanker for the nü jazz and rockish guitar mastery of his 1998-2015 Jazzland albums should find much pleasure here. Among many highlights, the driving, dramatic theme to “Outbound”/“Inbound” shares DNA with IE’s “Wanderlust” and “Pearl Hunter” is as immersive as its title suggests. The album holds enveloping atmospheres and simpatico 4-tet (plus guests) interplay in perfect balance, with Aarset’s extraordinary, effects-laden fretwork leading the way. Favorite track: Outbound, or Stubb1.
woundedhollow
woundedhollow thumbnail
woundedhollow Easily one of the best albums of 2021. Eivind's music is a perfect blend of jazz, post-rock, ambient, and electronic music like nothing else out there and it should be alot more recognized than it is. It's up there with Sonic Codex as his best so far.
prosperoaw
prosperoaw thumbnail
prosperoaw A feast for the ears; quite a sound palette. Favorite track: Pearl Hunter.
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1.
Intoxication 08:26
2.
Pearl Hunter 06:57
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about

"Phantasmagoria, or A Different Kind of Journey" is the latest album by the Eivind Aarset 4tet. Featuring Eivind Aarset, Wetle Holte, Erland Dahlen and Audun Erlien, the album is no departure in terms of the compositional quality contained therein, as it remains gold standard. But sonically and texturally? This album features more traditional guitar sounds and techniques than can be found on almost all of his previous albums taken together, while still incorporating his signature tonal manipulations that render the guitar sound into almost unrecognizable forms. The album traverses the full gamut of the instrument's tonal possibilities, from Joe Pass tones to ambient textural soundbeds, from blistering shredding to controlled noise and signal. The line-up is augmented by Jan Bang and John Derek Bishop on several tracks, and Arve Henriksen on one.

The compositions by turns can be straightforward instrumentals with a heavy groove, rhapsodic tone poems, quasi-ambient jazz, expressionistic campaigns of sonic annihilation, delicate variations and improvisational explorations built upon melody and harmony, and, not infrequently, a combination of any or all of the above.

The "Different Kind of Journey" of "Phantasmagoria" takes us through a preamble consisting of the hazy fuzz of "Intoxication" with its lazy backbeat and psychedelic tightrope walk of dreamscape over chaos, to "Pearl Hunter" with its bossanova groove filtered through ambient rock. From there we arrive at "Outbound or Stubb1" where the main leg of the journey begins and the beats kick in with greater intensity, and where post-punk guitar minimalism is given a 2021 makeover, before moving to "Duløc or The Cat's Eye" where 60s B-Movie score tropes blend with 70s avant garde and art rock, then stumble through a wormhole that takes them almost 50 years into the future. "Manta Ray or Soft Spot", with Arve Henriksen on trumpets, effortlessly glides into view, a sonic space where the marine vibes eddy and whirl with dreamy undertows and sun-kissed waves. Next on the itinerary is "Didn't See This One Coming", an aptly titled track that is better listened to than described (suffice to say, this is NOT something anyone familiar with Aarset's work would have expected). From the utterly unexpected, we move to "Soft Grey Ghosts", a textural piece that feels familiar, yet is somehow disconnected, drifting and swaggering with an extra step. The second stage of the journey progresses to its close with “Inbound or Stubb2”, the more experienced sibling of “Outbound or Stubb1", one that quotes from the journey and introduces new vocabulary and dialects extrapolated from it. The third and final leg of the journey is encapsulated in "Light on Sanzu River", a piece loosely derived from "Waiting on a Boat" by Anneli Drecker: filled with deep nostalgia for the past that lies behind, it also looks forward to the oncoming future with a bright optimism, a certainty that this part of the journey will lead to a better time and place.

"Phantasmagoria, Or a Different Kind of Journey" is an album that delivers a multifaceted experience: it is a soundtrack to an inner journey of remembered or imaginary landscapes and spaces; a travelogue of musical styles, sounds and eras; a simulacrum of the live touring experience. This album, perhaps more than any of his previous releases, is one that proudly and confidently wears Aarset's influences on its sleeve - a bold move, but one that serves to underline how he is infinitely more than the sum of those influences. This latest chapter in his weaving of the unified tapestry of his career shows how Aarset is capable of finding new threads in unexpected colours, of innovation and reinvention.

credits

released September 24, 2021

Wetle Holte —
Drums / Percussion / Metallophone.
Drum Programming / Mellotron on
Outbound (or) Stubb1 /
Organ on Manta Ray (or) Soft Spot.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Erland Dahlen —
Drums / Percussion / Logdrum /
Vibraphone. Drum Programming on
Soft Grey Ghosts (or)
Twilight Chamber.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Audun Erlien —
Bass. Casio Synth on Intoxication.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Eivind Aarset —
Guitar / Electronics / Edits.
. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Guests —

Arve Henriksen —
Trumpets on Manta Ray (or) Soft Spot.

Jan Bang —
Samples on Manta Ray (or) Soft Spot,
Didn’t See This One Coming & Soft
Grey Ghosts (or) Twilight Chamber.

John Derek Bishop —
Field Recordings & Treatments on
Manta Ray (or) Soft Spot & Light on Sanzu River (or) Dreaming of a Boat.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Music developed collectively by all participating
musicians. (0.9) is loosely based on
Anneli Drecker’s song ‘Waiting For a Boat’.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recorded & mixed by Bjarne Stensli at Oslo Klang.
Additional recording at Punkt Studio / Skogen
Studio / Sus / Oslo Lydbruk & Eivind’s Home studio.
Mastered by Georg Tanderød.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Original Painting ‘Deep Shade’ (Detail) 2021
by Karen Sherwood www.cupolagallery.com
Curated and coroded in The Designers Republic.
Design MITDR™ www.thedesignersrepublic.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tambour Management
www.tambourmanagement.com
Kjell Kalleklev Management www.kalleklev.no
www.eivindaarset.com
www.jazzlandrec.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Supported by Fond for utøvende kunstnere,
Fond for lyd og bilde and NOPA.

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