September, 3-5, 2015
Kristiansand, home of the Annual Punkt Festival for the past decade, is a municipality situated on the southernmost point of Norway on the Skagerrak strait. It has a population of 86,000 (the greater urban area 155,000) and is the county capital of Vest-Agder.
Crystallization of new concepts and development often take place and are given a push from the periphery, and Punkt is a good and prominent example. The festival is organized by Jan Bang
and Erik Honore
, two musicians who know each other very well and have done since their adolescent days in Kristiansand. The festival saw the light in 2005 and this year has reached its 11th edition. Prelude
This 11th edition offered its audience several newly developed features. The festival relocated to Kristiansand's Kino that has a multitude of differently sized halls in one building (1); it offered three parallel remixing sessions (2a); it organized an active artistic participation of students of the regional Agder University (2b); it presented an aggrandized program of documentary films and video works by electronic arts pioneer Peer Bode who attended the festival with a seminar and live performances (2c), and it had a strong Asian focus (3).
As usual the visual arts activities and exposition could be experienced at the Kunsthal. The Kunsthal presented an exposition of Belgian artist Arnoudt Jacobs, Once also this was a mutation
, curated by Kjell Bjørgeengen, Norway's most prominent video artist. Special spoken word and musical performances by Nils Christian Moe-Repstad, saxophonist Espen Reinertsen
of Streifenjunko and Marcus Schmickler highlighted the exposition.
Aernoudt Jacob's work has its origins in acoustic and technological research and investigates how sounds can trigger sonic processes that affect the listener's scope of perception. His installations focus on a central question: how can the complexity, richness and stratification of our direct, daily environment be translated into something that can clearly be experienced. Jacobs co-directs Overtoon, a platform and production facility for sound art based in Brussels.
The Punkt Film program included the premiere of Adrien Le Gall's Punkt documentary which features interviews with Laurie Anderson and other artists, in addition to concert excerpts from Punkt events in Kristiansand, Prague and Paris. German director Ingo Biermann's documentary about Maja S.K. Ratkje
premiered and several full concerts from earlier festivals, including David Sylvian's "Plight & Premonition" (Punkt 2011) and Three Trapped Tigers (2012) were screened. The musical program offered 18 remixes of six original performances plus five freestanding performances. More than 20 student musicians from Agder University were involved in the remixes.
There is a strong association between the term 'remix' and the dj culture that emerged from advanced studio techniques, digitalization, turntablism, sampling, plunderphonics and genre-crossing three decades ago. 'Remix' at Punkt always is a live-remix: musicians create a new piece of music based on elements from a freshly performed piece of music, in real time, a l'improviste. Remixing R- musicians do not only have the musical piece in mind (like jazz musicians decades ago, transforming popular standards), they manage to manipulate it in its recorded form, extending, transforming, reducing, crumbling etc.. Compared to the direct (re)action of an old-school acoustic jam session with digital means/sampling the process can be stretched and rewound. From that perspective, Punkt is very much about all facets of listening.
A key technique in this real time thing is sampling and using sampled parts of music just performed before. It can be music from the original performance or the performance instantly going on. These parts can be manipulated and re- entered into the performance. Considering music is organizing/organized sound in time, sampling and remixing entails that musicians and listeners operate with(in) multiple layers of time. In this process assumed or asserted boundaries are blurred, become liquid and have to be redefined dynamically again and again.
Even with respect to practice, every piece of music has been a 'remix' (and reflection) of pre-existing pieces of music in the past. The live-remix makes this explicit with all its consequences. Live remixing opens up a whole new scale of possibilities. The R-musicians (re)act to a whole piece of music, on the spot. They have to choose suitable parts, aspects or features of the original performance to work on in the remixalone or together, with electronics, acoustic instruments or voice. Opening
Punkt 2015 opened with a recital by Malaysian female pianist Mey Yi Foo (1980). She performed works by contemporary British composer George Benjamin (1960), Korean composer Unsuk Chin (1961), currently residing in Berlin, and Japanese composer Dai Fujikura (1977), a longtime London resident. Mey Yi Foo, London resident and winner of BBC's Best Newcomer of the Year award in 2013, is a passionate performer of new contemporary music and an internationally rising piano star. Her brilliant recital in the distinct elegant environment of Kristiansand's highbrow Klubben, which for the first time was used as a Punkt venue, set the tone for this boundary-crossing, interdisciplinary and multifaceted festival.
Composer Dai Fujikura (1977) collaborated with Jan Bang on David Sylvian's Died in the WoolManafon Variations
and for Bang's album Narrative From The Subtropics
made his first appearance at Punkt. What until now had been a purely electronic collaboration finally turned into the first physical meeting. Fujikura's work has been advocated and fostered by two major figures of contemporary European music, Peter Eötvös and Pierre Boulez. Dai was one of only two people asked to write a piece for the official Boulez 80th birthday celebrations at Cite de la Musique. Fujikura was featured during the festival in a remix of Dances & Canon
s by composer Kate Moore (1979), and in an extended interview session with Fiona Talkington in the seminar program.
The piano recital was wonderfully contrasted and topped by the performance of Japanese koto player Mieko Miyazaki, a Paris resident. Miyazaki is a traditionally schooled virtuoso on this wonderful and rich Japanese string instrument. In her performance she crossed eras, cultures and styles, fully exploiting the enormous possibilities of her instrument accompanied by singing. A witty and jesting narrator, she went through classical pieces (autumn, states of water) to differing folk songs of the Okinawa islands and entanglements with Western tonalities, winning over the audience. Miyazaki would later play a prominent role in the silent movie concert "A Page of Madness." Long-time visitors were reminded of the legendary performance of Michiyo Yago, another koto-player, at Punkt in 2007. Remixing route 1
Dutch pianist Saskia Lankhoorn performed the Dances & Canon
pieces by young Australian composer Kate Moore. Punkt director Jan Bang saw Lankhoorn performing these pieces recently in Amsterdam. Without hesitating he invited Lankhoorn to this year's edition of Punkt. It promised to become a Punkt-affine performance -contrary to the almost harmless title.
Lankhoorn gave a performance of gradually rising tension and expansion terminating in the piece "Sensitive Spot," a stunning climax of intricately layered piano lines causing an overwhelming, hall-high sound wave. Compared to earlier performances of that program by Lankhoorn this rendition was a daring big leap.
In these pieces Kate Moore very creatively applies repetition, a basic element in music, according to the old contrapuntal canon technique. The sound expands vertically, mingles, gets layered, then flies. It is the great dynamics of the sound expansion that causes the aforementioned effect. In "Sensitive Spot," the last piece, Lankhoorn by pedal triggered a pre-recorded version of the same piece, overlaying her own playing. It was a great opening of the festival day with a special sensation: being wrapped by gorgeous sounds.
It must be a challenging task for the pianist to stay on track within these multilayered sounds and overlapping lines. Lankhoorn accomplished it fluently and with bravura, revealing she is more than an ordinary interpreter of the music. It could be sensed that Lankhoorn loves to operate in this transitional zone. It was a memorable opening of the second day and great trigger for the R-musicians as the third party in the sequence, a sequence starting with a deliberately constructing composer, continuing with the preparing, rehearsing and performing pianist and next the musicians immediately remixing her performance.
This year, for the first time, the audience had the luxury to choose between three parallel live-remixes: In this case the R1-crew of composer Dai Fujikura, Jan Bang, Erik Honoré and guitarist Bjørn Charles Dreyer, the solo R2 musician Morten Qvenild, and the R3-duo of trumpeter Nils Petter Molvaer
and Agder-student Stian Balducci. Moving between different parallel remixes might be fruitful in terms of experiencing the variety, but can also be distracting and inhibit focus. As it is, it turned out to be a practical thing mostly.
The R1-crew (Dai Fujikura, Jan Bang, Erik Honoré, Bjørn Charles Dreyer) produced a radically muted variation. They went up to outer space and made audible how the echoes of Lankhoorn's O-performance sounded from that remote place. The music was both quite detailed and veiled. High tension and release alternated throughout its remix, applying changing perspectives and filters. It could be considered the opposite of the O-performance's expansion and layering.
Pianist Morton Qvenild crumbled the selected parts of Lankhoorn's O- performance into a slow and provoking process, as if preparing ingredients for an exquisite meal that first would taste a bit strange, but would set free some special silvan flavor in the long run.
The R3-duo of trumpeter Nils Petter Molvaer
and Stian Balducci on electronics went further into the landscape opened up by Lankhoorn's performance of Kate Moore's pieces. Deeply focused they painted its echoes in lyrical colors and fine textures.
The program was continued by collaboration between Polish electronic musician Michał Jacaszek and Polish contemporary music ensemble Kwartludium. They performed Jacaszek's work Catalogue des Arbres
released on the British Touch label. Kwartludium, founded in 2002, comprises Dagna Sadkowska (violin), Michał Górczyński (clarinet, bass clarinet), Paweł Nowicki (percussion) and Piotr Nowicki (piano). The quartet performs music by contemporary composers especially of the younger generation. The piece aims at giving sonic impressions of the breezing and gentle whispers of the wind through the branches of the trees. Jacaszek's work integrates field recordings of tree's sounds with minimal gestures on the acoustic instruments highlighting, contrasting, nuancing the sub-musical, sub- melodic biophonics. Jacaszek's appearance was a continuation of the collaboration of Punkt with Touch, last year represented by the work of Jana van Winderen.
The pace of the music was low, almost imperceptibly. It lacked condensing, pointing and sharpening of contours; instead these were only hinted at. In this concert performance it was both a strong and weak feature. The ensemble succeeded in achieving and maintaining a highly subtle balance of the different sound sources, but succeeded less in triggering and reinforcing an apt concentric or selfless listening attitude. As a consequence the audience looked forward to the remixes with more tension and expectance.
Again three crews were ready for a remix: The R1-crew (Sebastian Rochford
, Eivind Aarset, Jan Bang), the R2-crew a 6-piece-combination of Streifenjunko (trumpeter Eivind Lønning
and saxophonist Espen Reinertsen
) and the Sheriffs of Nothingness (violinists Kari Rønnekleiv and Ole-Henrik Moe
) with Erik Honoré and extraordinary percussionist Ingar Zach
, and the R3-trio of Simen Løvgren, Klara Høg and Jens Persheim Kola, all Agder students. The R2-crew became the starting point in this round. Its remix turned out to be one of the strongest and most remarkable of all remixes attended. It confirmed the first class rank of this combination and showed that it has grown still stronger since its last year's first appearance at Punkt. These six musicians worked with accumulated minimal tonal gestures, thereby gradually and dynamically enriching a single tonal stream in quite amazing ways. Herein condensation and expansion went hand in hand, thus gaining a special kind of voluminosity. An album of the combo will be released on Smalltown Supersound soon.
Illustrious French group Vegan Dallas presented the last O- performance of the night. Vegan Dallas is a new child of French Coax Collective and has a remarkable stage line-up with two highly individualized percussion sets: Julien Chamla, with a harp-like rack integrated in his drum set, and Benjamin Flament on assorted metallophones (he was selected for the Take Five Europe program three years ago). Richard Comte plays (prepared) guitars and sings (some Tim Buckley associations), Simon Henocq works keyboard and electronics, and Adrian Bourget serves as the sound engineer. All musicians know each other quite well from other Coax-groups like Helved Rüm and Hippie Diktat. Vegan Dallas played its first concert at Punkt Paris during Banlieues Bleues Festival at La Dynamo in April this year. In November the group will perform at La Dynamo, in a double bill again, with Supersilent duo Arve Henriksen
and Helge Sten
. A heterogeneity of absorbed influences, from Indonesian gamelan, heavy metal to industrial and Moroccan gnawa has left its traces and a deeper mark in this group's deeply buzzing and heavily driving music. During the first half of the concert the group created its deep buzz crossed by stirring lines in the higher register and full of dynamic twists, brilliantly feeding collisions into deep grooves. In the second half it fell into a less vivid, more trance-like droning mode---maybe because the group had to cope with a short circuit in the electronics. Nonetheless, Vegan Dallas rendered a unique, rich and promising universe of new sounds; quite something to experience.
The O-performance normally captures all the audience's senses and nobody thinks of or tries to imagine possible remixes. Only on the way to the remix you might spend a few thoughts on it. A remix is not just another version of the O- performance; it's an echo through the ears, minds, hands and mouths of other musicians. The relationship between the O-performance and remix can even become quite loose. You may not even realize you are listening to a remix anymore. For Vegan Dallas the R1-crew was a quite similar constellation, namely Danish percussionist Marilyn Mazur
's group Spirit Cave comprising Eivind Aarset, Nils Petter Molvær and the ubiquitous Jan Bang.
In the remix guitarist Eivind Aarset was no longer the spherical painter but revealed as the main boosting force laying down the initial groove. The sonic scene was held wide open, allowing the basic groove to return in a thousand guises and variations. Two brilliant percussionists, Mazur and Bang, took advantage of it in their joyful inexhaustible interaction. Nils Petter Molvær was the subtle spherical painter, transforming traces of gamelan sounds of Vegan Dallas' O-performance, but also opening the sluice. Deep down in the cave unmistakably spooked the spirit of Jon Hassell
. Melody emerged from the rhythm of the O-performance and the remix. As I watched the last minutes of the students' remix I seamlessly landed in the same groove produced with heavier electronic machinery. Remixing route 2
The third night opened with the Japanese silent movie "A Page of Madness," created in 1926 by Teinosuke Kinugasa (1896-1982), based on a scenario by Yasunari Kawabata 18991972), winner of the Nobel Prize for Literature in 1968. Kinugasa and Kawabata both were related to Shinkankaku-ha (School of New Perceptions), a group of avant-garde artists comparable to the German Expressionists of the same era. It is a movie about mental illness that depicts human suffering with its opaqueness, its violence and paralysis on a continual movement and shifting of subjective and objective reality, inside and outside, imagination, dream and obsession.
The movie was accompanied by the music French guitarist Nguyên Lê wrotecommissioned by Musée des Confluences, Lyon, France and premiered in May this year. The music in both Kristiansand and Lyon was performed by Mieko Miyazaki (koto), Chris Jennings
(double bass), Nils Petter Molvær (trumpet), Jan Bang (electronics), a string quartet and Nguyên Lê himself on guitar. Nguyên Lê's described his thoughts about the composition as follows: "I composed this music like a live movie score, with sonic movements linked exactly to each scene inside which improvisations could blossom. The computer plays both the movie and some fixed electronic grooves and abstract sounds defining different chapters." The role of the instruments and musicians he described in these words: "Several modules/instruments/musicians have a dialog, brushing against or disturbing each other and eventually joining together. The string section seals concepts & imagination, delivering the exact musical text. The electronic musician re-appropriates each scene by depicting the abysses of suffering souls as much as the serenity of the relief. The koto is supremely acoustic and pure, like a cherry tree flower. Its voice whispers secrets into our ear, yet screams the hell of life. The double bass is just in the middle between classical and jazz, and the trumpet is a wild card and free spirit in this dramatic theater. And finally there is the guitar, busily working on all sides like a conductor as well as a bee. The movie is dark & dynamic, tense & intense, and so is the music. Surely one of the darkest works I ever created, where passion is the only light."
This combination of movie and music constitutes a genre of its own where both parts enter into a dialectical relationship and have to feed each other. Lê adopted an open approach allowing the individual musicians (except the string quartet) 'to fill in' within a pre-structured and fixed musical baseline thereby contributing their own flavor and signature. This worked especially well for extraordinary koto player Mieko Miyazaki who was also contributing impressing and excellently matching vocals in Japanese. On the other side there was a certain discrepancy between the high definition of the music and the grainy structure of the movie with lots of old time crossfading. It tended to impede the correspondence of music and moving pictures. The complex music that could also have been standing alone matched the moods of the scenes on screen, but in a certain way was lacking the right patina.
There were again three remixes, only one of which could be attended: that of Czech remixer Floex. The other two, Arve Henriksen and Dj Strangefruit and the student-crew of A.U. Hagelia, Tobias Ø. Solbakk, Øvind Hovde, Aleksandra Djordjevic could not be reached.
Floex is clarinetist, composer, producer and multimedia artist Tomáš Dvořák from Prague. Dvořák aka Floex participated in the recent 4-day Punkt event in Prague and Brno and made his way to the mothership festival in Kristiansand. It was fascinating to watch him at work, constantly moving to and fro between control panel, laptop, reed instrument and pedals. After some introductory pinging and injecting some heavy beats he took a koto motif and a double bass part of the O- performance to work and elaborate on. He atomized the sound and ended with a wonderful transformation sounding like a heartbeatan enjoyable and memorable piece of work.
Last year pianist Morten Qvenild
performed at Punkt as a member of the sPacemoNkey duo with drummer Gard Nilssen
. He also gave a stimulating seminar on his research, part of the Artistic Research Program at the Norwegian Academy of Music. As a kind of action research he explores the wonderland of electronics with its seemingly unlimited possibilities and its personal applications to the piano. This time he demonstrated some of his HyPer(sonal) Piano achievements in a short solo recital preceding the performance of the group In The Country. He extended his gospel, soul and pop excursions with assorted electronic devices and manipulations. It rendered unbalanced, questionable results and was less stimulating and convincing than last year's more open performances.
This performance was immediately followed by that of trio In The Country with Qvenild, bassist Roger Arntzen
and drummer Paal Hausken
featuring young vocalist Frida Ånnevik for the performance of "Skogenes Sang" (Forest's Chant), a new program with poems of Norwegian lumberjack poet Hans Børli (1918-1989). Earlier his poetry played a role in the music of Sinikka Langeland
. Frida Ånnevik (born 1984), a young vocalist, composer and lyricist, who has already earned a couple of important Norwegian music awards, is a natural match for this program. She comes from the forest area northwest of Oslo where Børli lived. Ånnevik is a new voice and one that had a clear and convincing impact with her restrained but powerful stage presence. The group's short performance provided insight into the highly appreciable way of musically giving shape to Børli's world.
Like before I did not have the opportunity to catch all three remixes, only the R1-crew of Jan Bang and Erik Honoré with the eminence of Norwegian vocalist, Sidsel Endresen. The other two, Robert Lippok and the R3-crew of Andreas Røshol, Idar Eliassen and Marius Trøan Hansen, I had to let go. It is hard to say what is the difference between experiencing Sidsel Endresen for the first, the fifth or tenth time. You will never be (really) prepared for what is coming. The performance again proved how abstraction can get utterly concrete and cut deep.
Generically speaking she is not just producing plosives and stuttering guttural sounds, playing around, nor is she imitating instruments. Her expression moves with basic vocalizations combined in a non-arbitrary way, to syllables freed of conventional meaning placed and articulated with great urge, driven by a deep musical intuition. She digs deep into the essence of the human voice and creates a strong visceral coherence. Melody is always in the air (or triggered vaguely in listeners' minds), sometimes touched upon or even fully articulated. She is one of the most extraordinary post-bop vocalists and the source for younger Norwegian jazz and improv singers.
Fellow musicians have to listen carefully and take quick and effective action to achieve this coherence and strength of expression. Bang and Honoré know exactly how to and they know each other so well they can go into any direction with each other. Armed with her voice and just a microphone flanked by two electronic wizards she cut her way through the electronic shades, the spume, threw it into abysses and led the music to a higher plane. It was breathtaking and relieving. You could almost forget about the O-performance that was recognizable still. Thus the remix lead even deeper into the forest.
The finishing O-performance was by German Techno-and Electrolatino pioneer Uwe Schmidt aka Atom TM residing in Santiago de Chile. His performance was extremely loud and he had to cope with sound and synchronization problems, which prevented lots of visitors from listening to and checking out his complex micro-macro sound universes. So it didn't work out felicitously in this context.
In cases like this the remixes can provide deliverance and that is exactly what the following remix of Jan Bang and Audun Kleive
did, to a large extent. The remixes of Christian Fennesz
and R3-crew of Stian Balducci, Johannes Vaage and Jens Persheim Kola were just as attractive, but Bang's and Kleive's maneuverings were so enthralling and arresting, the other two needed to be missed. Bang and Kleive not only detached the beats from its original context, they goaded each other by rapidly feeding each other and stirring it up to the edge of derailing. It was an utterly joyous game they played this way and it seemed to be limitless. They had to come to an end and hit it fully at the right moment. That is exactly what they finally did, ingeniously and with bravura accompanied by cheering acclaim. And so Punkt 2015 came to an end with a profound, rich, and utterly joyful form of easy listening. Freestanding performances
One of the freestanding performances during the second night could be perceived as a hospital scene with two surgeons, numerous wires, cables, lights, control panels and screens. The two surgeons turned the knobs, pushed the regulators and operated their surgery instruments for a shorter or longer while. The patient's condition resembled a rollercoaster ride changing between reviving and set back. The reviving phases elongated and hope germinated.
This is doubtlessly a quite subjective perception of the duo performance of Norwegian trumpeter Arve Henriksen and Austrian guitarist Christian Fennesz. It had something of 'the matured artist in search of the unknown hidden in the known,' and they delivered it in a reflective and appealing way.
Vocalist Greta Aagre and Erik Honoré presented new material as a successor of their Year Of The Bullitt
opus that premiered at Punkt 2012. Aagre's singing is deeply Mitchell-informed as well as self-centered on firm grounds. As in the predecessor the lyrics played a crucial part. Aagre evidently obeys to the essential Sinatra-or Brel-virtue of clear and graspable articulation of the words in the lyrics and brought it into practice through all songs. It was a sublime and rewarding acquaintance with this new song cycle carried by Honoré's deep bass lines and sound sculpturing as well as the contribution of saxophonist André Kassen and the subtle work of Bjørn Charles Dreyer, one of the quietest guitarist around.
Hilde Marie Holsen is a new sprout of the Norwegian trumpet legacy. Recently graduated from the Norwegian Academy of Music in Oslo, she completely sold out her just released debut album Ask
(co-produced, mixed and mastered by Maja S.K. Ratkje
) within just a few weeks. She gave a daring solo concert that was enthralling as well as confusing. This young woman appeared to be a performer with a natural concentration, totally dedicated to her music without any attempt to impress. Her music did not meet the ingrained expectations of linearity, but nonetheless remained extremely fascinating and full of mystery. It could cause a conflict in the listener's mind with different accesses to the shore of surrender of fascination, but that shore is more than worthwhile. Holsen is a promising force and definitely a real new trumpet voice in the electronic field.
Three Vietnamese musicians from the electronic scene in Hanoi, Vu Nhat Tan, Luong Hue Trinh and Nguyen Xuan Son, made their entrée at this year's Punkt Festival and gave a presentation of their own, curated by Sigbjørn Nedland of Norwegian Broadcasting Corporation (NRK). All three of them are involved in crossbreeding collaborations with theatre, traditional folk musicians and jazz musicians like Otomo Yoshihide. Interestingly enough but unfortunately only a far too brief part of their performance could be taken in; more information can be found on the Punkt website. Open form network
Punkt, with its live remixes of music from diverse genres, has had plenty of offspring abroad: this year in Prague, Paris and San Sebastian, and earlier in Wroclaw, Mannheim and London. It constitutes a rotating collaborative European network. For this year's mother ship festival in Kristiansand several artists and groups were recruited from offspring meetings, like the electronic musicians Jacaszek and Floe, the group Vegan Dallas from Paris, koto player Mieko Mayazaki, and the group of Nguyen Lê from the collaboration earlier this year in Lyon. It is an ongoing process that will spread out Punkt events next yearstarting off with Amsterdam. 'Open form' here entails genre diversity of original performances and performers, open remix practice by musicians from various fields and genres, and an open exchange of electronic and acoustic musicians. Conclusion
One of the key elements of Punkt performances is the unique and masterfully light design of Tord Knudsen. He is one of the hardest working people behind the shows. This year he plunged the performances into superbly moving light. Photographs of the festival's performances tell the story of his art and its integration of sound, action and visuals. There was clear overlap and connection with visual arts, like in recent editions. It is an established value of the festival, but could nonetheless be more focused.
The core Punkt musicians were again amazingly active during the three nights: Jan Bang played five concerts, Erik Honoré did four, Nils Petter Molvær three, Eivind Aarset, Christian Fennesz, Arve Henriksen, Bjørn Charles Dreyer and Stian Balducci two, and last but not least Sidsel Endresen, Audun Kleive and Per Martinsen one each. New remixers could be watched and especially involvement of the students was a major enrichment, which hopefully will have some consequences for the composition of the audience too.
Remixing performances live in this context undoubtedly affects further perceptions of music by both listener and performer. The new practice of parallel live-remixes still has to grow. There undoubtedly is a danger of preprogrammed distraction and loss of focus. A good remedy would be to establish some reflective corridors in the sequence of the performance. Punkt is also a place of exchange and understanding, as an instigator to enjoyment. Selective Discography
Eivind AarsetI.E. . Jazzland Rec.
Michel Benita/Eivind Aarset/Mieko MiyazakiEthics. ZigZag
IJ Biermann/Kai MiedendorpVoice. Sculpting with Maja S.K. Ratkje. dffblmyrland
Dai FujikuraMina. Minabel
Hilde Marie Holsen Ask. Hubro
Jacaszek & Kwartludium -Catalogue des Arbres. Touch
Kate Moore/Saskia LankhoornDances and Canons. ECM New Series
Nils Christian Moe-Repstad/Nils Petter Molvær/Eivind Aarset/Jan Bang/Erik Honoré Theory of the Singular. Jazzland Rec.
Morten QvenildPersonal Piano. Hubro