ANATOMY OF SOUND – ALBUM & FILM

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“Anatomy of Sound” is the concept that permeates all of Song Circus´ artistic work during the period 2014-2018. Anatomy of Sound contains eight projects and fifteen composers. The repertoire focuses on the expansion of the register of expression and sound available to the human voice. In addition, Anatomy of Sound suggests a multitude of potential historical, theoretical, phenomenological and artistic angles.

The album “Anatomy of Sound” was nominated Norwegian Grammy (Spellemann). The album contain new music written by the Norwegian composers Ruben Sverre Gjertsen and Ole-Henrik Moe. Anatomy of Sound was recorded in Uranienborg Church by Lindberg Lyd in 9.0 Auro-3D and released on Pure Audio Blu-ray and hybrid SACD by 2L.

The film “Anatomy of Sound” was made in collaboration with the Danish film director, Maja Friis:

Concept & idea: Maja Friis and Liv Runesdatter
Film director: Maja Friis
All sound performed by Song Circus (songcircus.no)
Music composed by: Ruben Sverre Gjertsen
Sound production: 2L / Lindberg Lyd (Morten Morten Lindberg and Jørn Simenstad)
Producer: Liv Runesdatter
Cinematographer: Anders Nydam
Visual consultant: Lys og Trolddom / Rasmus Møbius

The video is awailable in different formats and can be customized for screening. The music is originally recorded and produced in Auro 3D.

Contact for screening: Song Circus / Liv Runesdatter – liv@songcircus.no

 

About / Reviews:

“Through minutiae explorations into the very microlevels of sound anatomy, through vocal investigations as well as the activation of spatial premises and the discovery of timbral qualities of objects, Song Circus masters an unusual audial vocabulary that expands the idea of what music can be.”

Norwegian ensemble Song Circus is comprised of five vocalists, and the music they make is thrilling, demanding, and light-years removed from traditional choral music. Thick vocal textures are interwoven with washes of digital sound. A singer’s whisper morphs into a full-throated roar, then yields to near-subliminal mouth percussion. Just as unique, Song Circus’ stage setup surrounds the audience, positioning them within the ensemble so they can act as co-conspirators in the performance. - Classical:NEXT

This collection of experimental pieces for five voices and electronics is definitely not in the wheel house of your average grumpy old audiophile, but if you can power through your preconceptions about songs and melodies you might find that Song Circus will evoke feelings and emotions that are as rewarding as they are unsettling. So no, you will not be humming these pieces to yourself after listening in your car on the way to work. This is brain music, to put it succinctly, something to help you define your own expectations when it comes to your musical sensibilities. Song Circus will either challenge you and expand your horizons, or it will make you head for the exits. But I can’t think of a more informative recording in my entire music collection. If you patiently listen to Song Circus in its entirety, you’ll emerge from the experience knowing more about your sound system and how it interacts with your listening room. You’ll also know more about your brain, and how it interacts with new information. – Marc Phillips, The Vinyl Anachronist, Feb 2016

Le groupe vocal Song Circus composé de six artistes, Stine Janvin Motland, Maria Norseth Garli, Liv Runesdatter, Anita Kaasbell, Eva Bjerga Haugen et Ronnaug Bakke, est spécialisé dans la musique contemporaine et l’improvisation. Il propose ici deux œuvres, « Landscape With Figures » de Ruben Sverre Gjertsen, sur des textes de Damian Vitanza et James Joyce, puis « Persefone » de Ole-Henrik Moe JR. Ruben Sverre Gjersten a étudié la composition à l’Académie Grieg de Bergen auprès de Morten Eide Pedersen et James Clapperton avant de suivre les Masters classes de notamment Brian Ferneyhough, Klaus Huber, Salvatore Sciarrino, Philippe Hurel. Ole-Henrik Moe JR fit ses études de violon et de composition en Norvège, en France et en Allemagne. Sa rencontre avec Iannis Xenakis, à la Sorbonne à Paris fut, pour lui, déterminante. Comme au temps de la chanteuse et muse de Luciano Berio, Cathy Berberian dans les années soixante, c’est une technique vocale nouvelle que l’on aborde ici, faisant la part belle à la virtuosité. Dans une mise en espace particulière, la musique se déploie avec rigueur et force, laissant l’auditeur à la fois spectateur et acteur d’un univers aux repères déplacés qu’il faut reconsidérer à l’aune d’un partage émotionnel totalement nouveau lui aussi. Avis aux amateurs. OPUS, Jean-Jacques Millo