Erik Honore: Small Sonic Postcards

Nenad Georgievski By

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AAJ: What did Eno bring to the festival and how did it fit in with the festival's original design, concept and intentions?

EH: Obviously, Eno is the godfather of many of the genres involved in Punkt, and of the idea of bringing these genres together and working with them with studio tools, or now with technology that earlier was only available in studios. Eno and David Byrne's My Life in the Bush of Ghosts (Sire, 1981) and Eno's work with Jon Hassell are only two examples, there are many others. We first had Eno visit Punkt with his audio-visual installation 77 Milllion Paintings in 2008, and afterwards we asked if he would be interested in curating a whole edition of the festival. He accepted, to our surprise, and this year he brought a number of artists that he personally finds most interesting today. Mainly new or younger artists over a broad genre spectrum, from electronic experimentalists like Ben Frost to pop artist Owen Pallett to improvised standup comedian/musician Reggie Watts.

This experience was very interesting to us, also the aspect of totally letting go of control over the festival program. But we will probably return to curating ourselves next year, at least most of the festival, as this is what we enjoy most. After all, Punkt is an ongoing artistic project to Jan and I, more than a traditional festival.

AAJ: What are some of the most memorable concerts that have happened at Punkt?

EH: On a personal level, I must admit that the highlights have been to perform together with some of the musicians I respect most, like David Sylvian, Jon Hassell, [guitarist] Christian Fennesz and, of course, Sidsel Endresen, Nils Petter Molvær and Arve Henriksen, to name a few. Also because many of these performances have been starting points for further collaboration, recordings and live work. But if you ask our loyal and very knowledgeable audience, they may give you other answers.

AAJ: It seems that the festival has begun travelling around the globe to other locations beyond the mothership festival in Kristiansand.

EH: Yes, we have taken Punkt to London, several cities in Germany, as well as Paris, Barcelona and Tallinn. In these cases, we bring the whole concept and Norwegian musicians, and collaborate with local artists.

AAJ: How have all these experiences influenced your musical thinking and evolution?

EH: The whole Punkt experience has been a very exciting ride, and most importantly it has forced me out of my comfort zone, something that has been very valuable. I am definitely more comfortable in the studio, sitting alone or with Jan and being in control of a small universe that I know, and that responds like I expect it to. But the fact that Punkt and the live remix concept is based on improvisation has taught me a lot. This is knowledge that I then can bring back into the studio environment, or make use of when composing music.

Selected Discography

Greta Aagre/ Erik Honoré, Year of the Bullet (Jazzland, 2012)

Jan Bang/Erik Honoré, Uncommon Deities (SamadhiSound, 2012)

David Sylvian, Died in the Wool: Manafon Variations (SamadhiSound, 2011)

Sidsel Endresen/Jon Hassell, Punkt: Live Remixes Vol. 1 (Jazzland, 2008)

Various Artists, Crime Scenes (Punkt, 2006)

Photo Credit

Page 1: Madli-Liis Parts

All others: Courtesy of Erik Honore
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