FRIM is pleased to announce the second annual FRIM FALL Festival. Like last year’s festival, this year is an eclectic mix of improvised and experimental musicians from Sweden, England, Denmark, South Korea, Germany, US and Mexico. The first night will be on the 29th of September at Källarbyn in Gamla Stan and our second night will be at our dear ol' Fylkingen. We hope to see you there! Here is the line-up!
Fylkingen, September 30
Torkel Knutssonsgatan 2, 104 62 Stockholm, Sweden
20.00 doors 20.30 show
Anna Högberg, solo saxophone
Louise Dam Eckardt Jensen - alto, baritone, soprano saxophones, flute, alto clarinet, voice, electronics
Nana Pi Aabo-Kim - tenor saxophone, voice, objects
Tom Blancarte - upright bass, euphonium, voice
Halym Aabo-Kim - drums, voice
Ben LaMar Gay, cornet and electronics
Paul Giallorenzo, synthesizer, pump organ, electronics
Charlie Kirchen, bass
Ryan Packard, drums, electronics
Anna Högberg grew up on Ornö and in Härnösand. She has been part of Fire Orchestra since 2013 composed of around Mats Gustafsson, Johan Berthling and Andreas Werliin, with whom she also recorded four albums. In her punk jazz trio Doglife, she “regularly sets off drone fireworks that are characterized by an irrepressible joy of playing and compelling musicality.” She also founded the sextet Attack!, with which she presented the album of the same name in Sweden in 2016. She is also a permanent member of the quintet Se och Hör, with whom she recorded two albums until 2018. She can also be heard on the album Shake (2015) by Mats Gustafsson's trio The Thing, Hidros 8: Heal (2022) by Gustafsson's NU Ensemble and on Forevergreens (2016) by Dan Berglund's Tonbruket.
Tactical Maybe is the collective name of the sonic nexus points located between two pairs of beings known as: Halym and Nana Pi Aabo-Kim, and Louise Dam Eckardt Jensen and Tom Blancarte, whose global roots in USA, Germany, Denmark, Mexico and South Korea, combine and meet within the experimental and improvised music scenes of Denmark. Their music presents a multiverse of possibilities navigated by a quatrologue of choices informed by lives lived in a multitude of musics, resulting in a pulsating expanse of actions and non-actions, pitches and textures, sounds and space - all of which astound listeners and the musicians themselves.
The debut LP from RedGreenBlue posits a mesmeric, minimalist extension of Chicago's groove-based improvised music tradition. Over the course of two introverted, side-long pieces, the band patiently crafts hypnotic—yet still dynamic—sonic spaces using languid pulsations, careful shifts in colour, and occasional bursts of virtuosic urgency. It's music that hovers between worlds, unfurling a foundation of almost-ambient weightlessness that's inflected with audible spontaneity and given breadth through rhythm. The expansive result intimates connections to the most atmospheric corners of Miles Davis' electric catalogue, hints at Terry Riley's trance-inducing drones, makes oblique references to dub, and even nods in the direction of Town and Country's DIY chamber music. Yet, all the while it inhabits its very own aesthetic space—a gravity-defying blend of the ethereal and the earthbound that draws the ear in slowly and subliminally.
The quartet of Paul Giallorenzo (synthesizer, pump organ, electronics), Charlie Kirchen (bass), Ryan Packard (drums, electronics) and Ben LaMar Gay (cornet and electronics) first assembled in spring 2017 for a four-week residency at the Burlington, a beloved a hub for exploratory music in Chicago's Logan Square. The End and the Beginning was conceived and workshopped in the first half of the following year and was later recorded live at the Hungry Brain, another notable Chicago venue in July 2018. With half of its membership leaving Chicago—not to mention the active performance schedule that each member keeps—the group has since started operating more as a rotating collective than a fixed ensemble.