Henrik Munkeby Nørstebø spiller inn ny soloplate i Emanuel Vigelands mausoleum, og inviterer publikum inn til to uhøytidelige lunsjkonserter onsdag 11. oktober : kl 13 og 14
Hans forrige soloplate «Dystopian dancing – for amplified trombone & object orchestra» inneholder noe materiale som ble spilt inn i mausoleet, og Henrik vender nå tilbake med fullt PA for å spille inn en videreutviklet liveversjon hvor nettopp objektorkesteret (i dette tilfellet analog elektronikk og lydfiler) er medvirkende. Forvent et massivt uttrykk med mye dynamikk, hvor mausoleets helt spesielle klang utnyttes til det fulle.
Espen Reinertsen er med bak spakene!
Arrangementet er støttet av Norsk Kulturråd og Creos Vederlagsfond
Tid: Onsdag 11. oktober, klokka 13 OG 14
Sted: Emanuel Vigeland Mausoleum, Grimelundsveien 8, 0775 Oslo
Henrik Munkeby Nørstebø is a trombonist and sound artist based in Berlin and Trondheim, focusing on
live performance as well as a wide range of compositional and cross disciplinary projects. His current solo
setup consists of heavily amplified trombone, analogue electronics and occasional field recordings, and
undulates between claustrophobic tension and moments of ecstatic release. Breath is at the core of the
project, and Nørstebø is utilizing an air compressor-like use of lungs, nuanced microphone technique and
gain adjustments in order to unearth the intense physicality of the inherent low volume sound material.
“DYSTOPIAN DANCING” from 2022, his third solo release, showcases this unprocessed material along
with an expanded section for “object orchestra”.
Nørstebø has toured extensively since 2010, and released numerous records, spanning from solo to large
groups. His collaborative projects include duos with Audrey Chen (BEAM SPLITTER), Daniel Lercher and
JD Zazie, the “freejazzpop-band” Skadedyr, new music ensemble Aksiom and a myriad of collaborations
with improvisers, visual artists, dancers, entities from around the world.
“A heightened consciousness around a kind of beat based on variations in mouth morphology,
pressure, and capacity ties time to the body, ups the stakes, and feedbacks into its violent undertones. A
wide rhythmic palette provides much material for its reworking, which adds eerie noir and air raid sirens,
glassy sines, and the ubiquitous clicking of an object orchestra, and the rhythmic raspberries blend with
bumps that could come from programming as much as the mouth for a kind of breath-based dub techno.”
– Keith Prosk, Harmonic series
