#RYMDEN

[thunderwetter]

TransforMay Days 13 - 15 "The Sky Is the Limit"

No might is needed here below Where I find my peace; Surrounded by all those I love, I never want to leave.

Above the clouds I see A spark that lost its light; I reach out with the hope That it may reignite.

Refuse me not I call to it, Though it draws away. Persistent, I keep reaching out And asking it to stay.

The stubbornness is just a mask, That much I can see. Your wish is just to have a friend A friend that could be me. -------------------------- I got a little bit carried away with this one, sorry for the delay lol

It's @bluecookiesabi's TFsona Rymden, felt like they fit the vibe super well and combined with the next prompt it gave me an excuse to draw our sonas together haha

Find the prompt list here and feel free to join at any time! https://www.tumblr.com/bwans-art/747595723342774272 I mean, it's June and even I haven't finished the list yet, oops

[bluecookiesabi]

The first thing I drew with my tfsona after making the reference is, of course, a shitty cheesy romance novel cover with First Aid. Thank you @cmofirstaid for the idea LOL

[burlveneer-music]

RYMDEN - Valleys and Mountains

After their previous excursions into the outer cosmos - the highly acclaimed studio albums "Reflections and Odysseys", "Space Sailors" and the powerful live album "RYMDEN+KORK" - RYMDEN have returned to Earth with their new album, “Valleys and Mountains”. However, as one might expect from the trio of Bugge Wesseltoft, Magnus Öström and Dan Berglund, the music is not strictly earthbound - the inner cosmos, dreams and visions offer new spaces to explore, alongside bucolic rambles and treks. The instrumentation and techniques are once again diversified, the styles multiplied; yet all remains indisputably the music of RYMDEN. There is a dual sense of nostalgia and hope for the future, a feeling of rediscovery replacing loss. There is an awareness of the natural world and our place within it, the part it plays in our lives, and how our lives are simply part of something greater than ourselves.

[forislynx]

Vi anar nu att det vi kallar rymd och glasklarhet kring Aniaras skrov är ande, evig ande ogripbar att vi förlorat oss i andens hav. Vårt rymdskepp Aniara färdas fram i någonting som ingen hjärnskål har och heller ingen hjärnsubstans behöver. Hon färdas fram i någonting som är men ej behöver vandra tankens väg: en ande som är mer än tankens värld. Ja, genom Gud och Död och Gåta går vårt rymdskepp Aniara utan mål och spår. O, kunde vi nå åter till vår bas, nu när vi upptäckt vad vårt rymdskepp är: en liten blåsa i Guds andes glas.

Harry Martinson, Aniara

[caviarsonoro]

Homegrown

[sonicziggy]

"My life in a mirror" by Rymden, The Norwegian Radio Orchestra https://ift.tt/ChLwS1N

[femman-i-rymden]

#vågavägravörtbröd

[pizgif]

[gostlyghost]

𝐆𝐨𝐬𝐭𝐥𝐲𝐠𝐡𝐨𝐬𝐭.

!The post is not related to the account topic!

There are no feelings in outer space(I rymden finns inga känslor) - Simple Simon. 🌌

0:30 ━━●─────────── 3:34.

⇆ ◁ ❚❚ ▷

I recently watched this amazing movie, which left me with a storm of positive emotions. A very sensual and interesting film about Simon's boyfriend with Asperger's syndrome. (Actor: Bill Skarsgard.)

If you haven't watched it, be sure to watch it!

[svensknostalgi]

"Den som ligger bakom projektet är Martin Fallhagen. Han har downs syndrom och kortfilmen handlar om hur han och de från hans gruppboende är på en strand i Grekland när de får ett telefonsamtal från rymden. Det är Mira som ringer – hon behöver hjälp med att rädda Femman från Filione, skogsplaneten."

[snowy-atlas]

These two would have fantastic conversations about space and aliens

[beckinferno]

my fictional boyfriend

[bluecookiesabi]

IVE MADE A TFSONA YOU GUYS

[burlveneer-music]

Rymden & Kork - Bugge Wesseltoft’s piano trio (with E.S.T.’s Magnus Öström and Dan Berglund) plus orchestra (Jazzland)

Since forming in 2018 RYMDEN has established itself as one of the leading piano trios to ever emerge from the Nordic Jazz scene. All three members bring with them long-confirmed and lauded histories as innovators in jazz: Berglund and Öström via the Esbjörn Svensson Trio and their own projects (Tonbruket and Magnus Öström Band respectively); Wesseltoft via his New Conception of Jazz and other projects. Now, after several albums and many concerts, they meet KORK, an orchestra capable of responding to the trifold creative power that RYMDEN vigorously generates. KORK, for over three-quarters of a century has followed its own musical curiosity across genres, from "standard" orchestral repertoire, both classical and contemporary, to jazz, rock, and pop. Through close association with NRK, KORK has been heard across the world through its participation in the annual Nobel Peace Prize concert and the Eurovision Song Contests in 1986 and 1996. The combination of RYMDEN and KORK brings even greater contrast to music that already had its fair share of light and shade and brings a broader textural palette that enriches and defamiliarizes the compositions. These new arrangements expand on their source material, creating a different musical world without sacrifice of its original spirit. The compositions, already filled with drama or meditative passages, menace or light-hearted humour, rhythmic drive or fragmentary expression, are repainted, sometimes with the lightest of nuanced touches, other times with densely layered maximalism. Where the collaboration of RYMDEN and KORK may have been unexpected for some, the perfect alignment of the results suggest that it was inevitable.

[forislynx]

Vi knogar väl på i vårt solsystem och åldras, kroknar och grånar bland meteorer och månar

Allan Edwall, Lågkonjunktur

[sinceileftyoublog]

Oren Ambarchi, Johan Berthling and Andreas Werliin Interview: Winning Concepts

Photo by Thobias Fäldt

BY JORDAN MAINZER

Well, that didn't take nearly as long. A mere two years after releasing the once dormant and eventually critically acclaimed Ghosted, Oren Ambarchi, Johan Berthling, and Andreas Werliin are releasing its follow-up on Friday via Drag City. The trio returned to Studio Rymden in Stockholm last June, with years of performing together under their belt, and laid down the tracks for Ghosted II in a mere two days. Like its predecessor, Ghosted II delves into jazz and drone music, has numerical track titles, and features guitar from Ambarchi that sounds like an organ, album art by Pål Dybwik, and video art by Cédrick Eymenier. Less like its predecessor (though not wholly unlike it), Ghosted II plays with dynamics, is more improvised with minimal overdubs, and roots itself in everything from ambient music to funk. Oh, and its numerical track titles are in Swedish instead of Roman numerals.

Seriously, Ambarchi, Berthling, and Werliin could follow the same four-track formula with the same featured artists every time and I would be more excited with every release. That's how potent Ghosted II is. “en” sports brilliant textural contrasts, pattering drums, scraggly guitar, and barely-there bass, but nonetheless wears a zesty groove. “två” I can most aptly describe as chrome lounge jazz, rife with repeated bass, slow hand percussion, and cold, warbling guitars that pulsate at constantly changing speeds. “tre” is where we first truly hear those inexorable Ambarchi guitar sounds, whirring and shapeshifting with a light chirp and glitch as Werliin's percussion circumvents Berthling's bass. The song sounds like it's traveling through a prickly continuum. And “fyra” ends the set with shimmering ambiance, syncopated bass and drums steady until Werliin jumps into a clattering groove, eventually letting Ambarchi take front and center before the three descend into silence. Ghosted II is the type of album as easy to listen to as it is heady and complex, an achievement that should further this trio's welcome emergence in the experimental music realm.

Oh, and I forgot to mention another similarity to Ghosted: Ambarchi, Berthling, and Werliin once again were willing to answer some questions from me over email about the album. Read their responses below, edited for clarity, including some can't-miss music recommendations.

Since I Left You: How would you say Ghosted II is different from the first record, and how is it a continuation of what you were doing on Ghosted? Oren Ambarchi: I would say that it's a continuation from the first one. The approach in the studio was very similar: We simply got together and improvised with little discussion beforehand. It was recorded very quickly--from memory, all the pieces are first takes, and there was minimal overdubbing.

SILY: How did playing live as a trio inform Ghosted II? When you went in to the recording, did you think of it like a live concert with no audience? OA: Playing live has been really great, as we've been developing our language as a trio from show to show, and this definitely impacted the new one. Like the first trio recording, the vibe in the studio was very relaxed. It was like playing together in someone's lounge room. Personally I tried to approach the new one with newer guitar sounds, many of which I discovered in real-time whilst we were recording. I was hoping my playing would be a little different to the playing on the first record. I didn't want to repeat myself, and I'm sure the others felt the same way regarding how they approached the recording. So the new album is, on the one hand, a continuation from the first album, but on the other hand, it's an exciting new development for all of us. Johan Berthling: I think playing live has merged our sounds together quite a bit. We know each other's playing a lot better. When recording the first album, we had nothing. Now, we have a sound and a foundation we can continue to build on. For me, the studio (could be) a magical environment where all is possible. The live situation has so many parameters that are not controllable, so I want to keep them apart. I never look at recording as a live performance. Andreas Werliin: Playing live in front of an audience is very different from being in a studio recording session.[It has] different energy. It’s weird: The great live shows rarely transform into a good recording. It’s usually too much information. What we experienced when playing live was that we could use much more dynamics than on our albums. In a studio recording, you can use the room and vibe to play less and still keep it interesting, making small changes instead of the big movements we do live.

SILY: Is there something unique about Studio Rymden that fosters creative collaboration? OA: It feels super relaxed recording there, which really suits our vibe and somehow enhances what we are going for. I think we are all inspired by the room at Rymden and play off of the space. JB: It has a really nice living room atmosphere and has all the equipment we need. Daniel [Bengtson], who runs it, is also a great and knowledgeable guy making everyone feel at ease. AW: [It's] a good sounding, very relaxed place. [It] feels like being at a home party.

SILY: Why was it important for you to have continuity between the two albums' visual identities (cover art, music videos)? JB: Why change a winning concept? :) AW: These days, things are moving so fast. Everything and everybody has to change all the time to not lose the audience's attention, both visually and musically. We took the opportunity to go against that movement, I guess.

SILY: What inspired the track titles this time around? OA: Laziness. It's 1/2/3/4 in Swedish. Maybe we'll pick another language when we do another release.

SILY: How did the songs on the first record end up evolving live? Do you foresee these songs having a similar live evolution? OA: Absolutely. It's been really fun expanding on the pieces on the first album in a live context. Those pieces have really gone places. Some live versions of the pieces have lasted 30-40 minutes each. We've already been playing some of the new pieces live, too, and they are already morphing into new explorations that are quite different from the recorded versions.

AW: We developed a new form and used more improvisation and a lot more dynamics.

SILY: What's next? OA: We have some shows coming up as a trio which I'm really looking forward to. I really love playing with Johan and Andreas. My next big show...is a new piece titled "Sous Vide" with conductor Ilan Volkov and the Brussels Philharmonic Orchestra. I'm also hoping to start on a new solo record later this year. AW: I'm excited to release [Ghosted II]. We’re all pretty busy with other projects and family life, so [I'm] just hoping for peace, love, and understanding in general, I guess.

SILY: Is there anything you've been listening to, watching, or reading lately that you've enjoyed or that's inspired you? AW: I would highly recommend Brighde Chaimbeul's album The Reeling (River Lea). She will play live in our village on the west coast of Sweden on July 7th in an incredible church. Much welcome. JB: Lately, I’ve been listening a lot to Howlin' Wolf's Message to the Young and John Lee Hooker and Canned Heat's Hooker 'n Heat. Live, I recently saw a fantastic performance by Evan Parker and Alexander Hawkins in Germany!

OA: [I've been] listening to plenty non-stop, but here's a few recent things that come to mind:

James Rushford's Turzets

An unreleased 1974 live recording of Salamat Ali Khan from Berlin

ML Buch's Suntub (15 love)

Tyshawn Sorey's Continuing (Pi)

Ahmir Khan's Khayal By Ustad Ahmir Khan

RLW's When freezing air stings like ice I shall breathe again (Drag City)

Lenny Breau's Quietude

Eduardo Mateo

Glenn Gould's version of Brahms: 10 Intermezzi

Mikel Rouse Broken Consort

Tirzah

Weather Report's Live & Unreleased

I also just picked up an amazing new remaster of Genesis' The Lamb Lies Down on Broadway, which I've been playing endlessly.

I recently watched Dog Day Afternoon with my 16-year-old last night. It was good to revisit that one. I also recently saw a great UK documentary on Cornelius Cardew with footage of the Scratch Orchestra and AMM. Other than that, it's always Law & Order before bed.

Reading:

Scott McClanahan's The Sarah Book Ian Penman's Fassbinder Thousands of Mirrors Adrian Sinclair & Allan Kozinn's The McCartney Legacy Henry Threadgill & Brent Hayes Edwards' Easily Slip Into Another World Dorothy B. Hughes' The Expendable Man