Party Knüllers! is a collaboration between Chicago cellist Fred Lonberg-Holm and Norwegian drummer Ståle Liavik Solberg. This intimate meeting of the two restless and adventurous musicians highlights their obsessive and playful need to explore and invent new sounds and new forms of musical communication.
The duo's debut is a wild tour-de-force journey. They begin with the stormy "Erfolg" and never slow down. Lonberg-Holm's cello sound more as a tortured and distorted metallic guitar while Solberg is busy attacking the drum set with highly creative gestures. The second improvisation "Schießen" is a busy improvisation, acoustic in its spirit, still Lonberg-Holm and Solberg demonstrating their urgent desire to constantly produce thick sonic occurrences to keep expanding their instruments vocabularies.
"Treffer" has an otherworldly cinematic quality. Lonberg-Holm's cello suggests minimal drone sounds while Solberg ornaments these atmospheric sounds with gentle bells, resonating cymbals and skin brush touches. "Anstoßen" begins with a similar minimalist vein but soon the duo interplay evolves into fast and dense exchange of fragments of sounds till it reaches its climactic coda. "Punktzahl" is a playful and creative demonstration of the cello as a generator of dark and disturbing metallic sounds, an imaginative partner to Japanese guitarist Keiji Haino voluminous guitar excursions. The two conclude with the surprising moving "Gefühl" that feature, again, the immediate, organic language that this duo has developed.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.