NI VU NI CONNU
 

Sven-Åke Johansson Vinyl Series

Berolina Suite

Barcelona Series


Andrea Neumann inside piano, electronics
Axel Dörner
trumpet
Sven-Åke Johansson percussion

1. NO 92
2. O 94
3. NW 87
4. S 84
5. W 80
6. S 59
7. SW 61
8. SO 36
9. NO 55

Recorded at Naherholung Sternchen, Berlin, November 2013
Recording Andrew Levine
Mixing & mastering Werner Dafeldecker
Liner notes by Thomas Millroth

nvnc-lp005/06

“A mechanistic, almost non-expressive playing stance, with the aesthetics of renouncement or of leaving out instead of filling in.”

Sven-Åke Johansson

"What's most striking about Barcelona Series, though, is how unmechanical most of the music sounds. True, Dörner frequently makes sounds with the trumpet that the horn was never designed to produce – everything from hissing gas pipes to guttural, grinding engines. Neumann adds crystalline cascades and creaking bedsprings, and evidently applies an electric fan to the piano strings à la AMM tabletop guitarist Keith Rowe. Johansson deftly coaxes a broad palette of timbres and textures from his simple kit. The performers place every note and sound in silent space as delicately and deliberately as Anton Webern or AMM, and if the sounds themselves may be akin to industrial noise, the careful volition with which they are combined is distinctly musical – and distinctly human."

Steve Smith, Jazztimes

 

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Fallstudien


Burkhard Beins percussion
Rhodri Davies harp
Sven-Åke Johansson percussion

1. for harp and percussion
2. for harp, black beans, rice, red lentils and gunpowder tea
3. for percussion

Track 2 is a solo performance by Rhodri Davies.

Recorded at Sowieso Berlin, May 2013 and April 2015 (track 2)
Recording Oliver Stahn
Mixing Burkhard Beins
Mastering Werner Dafeldecker
Liner notes by Thomas Millroth

nvnc-lp007

"Using acoustic instruments it is possible to create sounds that could be mistaken for electronic sounds. When the two are blended, they are similar, but the frictions that create tension still remain. . . . This music is built up through tensions and similarities between two of the leading percussionists on the improvisation scene that emerged in Berlin around the turn of the millennium. It is highly charged, and the strange thing is how well it works with Rhodri Davies, who has very different qualities: a tranquillity, a certain absorption and penchant for the shimmering soundscape.”

Thomas Millroth

 

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Das Marschorchester


Erik Drescher flutes
Theo Nabicht, Florian Bergmann clarinet
Liz Allbee, Richard Koch, Christian Magnusson trumpet
Alistair Duncan bass trumpet
Hilary Jeffery trombone
Martin Klingeberg baritone horn
Pauline Boeykens tuba
Hannes Lingens bass drum
Sven-Åke Johansson snare drum

Guest soloists:
Rüdiger Carl clarinet
Alexander von Schlippenbach trumpet

1. Finnländischer Reitermarsch
2. Der Jäger aus Kurpfalz
3. Washington Post March
4. Thunder and Blazes
5. Easter Monday on the White House Lawn
6. Venezia March
7. The Corcoran Cadets March
8. The High School Cadets
9. The Gladiator March
10. Treue Knappen
11. Hands across the Sea
12. Florentiner March

Recorded at Ausland Berlin, 7 and 8 November 2013
Recording Andrew Levine
Mixing and mastering Nicholas Bussmann, Sven-Åke Johansson
Liner notes by Thomas Millroth

nvnc-lp008/009

"With its rhythmisation, the Marschorchester takes aim at
unsuspected, hidden collective desires of entertainment. On two
days in November 2013, it opens up a world of experience you
thought was lost forever."

Sven-Åke Johansson

 

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Frost


Liz Allbee trumpet, seashell
Annette Krebs e-guitar, electronics
Sven-Åke Johansson percussion

1. nachts
2. im nebel
3. in der ferne
4. im winter
5. in holunderbüschen
6. aus einem spalt
7. in einem hinterhof

Recorded at Geoff Stern Art Space, Berlin, 17 June 2015
Recording Andrew Levine
Mixing and mastering Werner Dafeldecker
Liner notes by Thomas Millroth

nvnc-lp010


Ein Abend in Pöseldorf

Alexander von Schlippenbach piano
Sven-Åke Johansson voice, accordion, drums

1. kopfsteinpflaster (muster)
2. schnelle boote auf der alster
3. ... abends geht man gern an die luft

Recorded at Onkel Pö, Hamburg, March 1978
Recording NDR
Mastering Werner Dafeldecker
Liner notes by Thomas Millroth

nvnc-lp011

"As a foundation there is, of course, the very German classical genre of the Lied. A melody suited to singing and set to a piano illustrating the lyrics with comments. But here, tradition, song and instrument clash. A sort of recitative was cultivated, the lyrics were more or less improvised, melodies were crumbled into tiny bits to be joined together in exhilarating sound shocks."

Thomas Millroth

 

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Hudson Songs


Sven-Åke Johansson voice, piano

1. fun and games
2. Ajax
3. flat is the head of the louse
4. the transmission(ary) society’s belt
5. the fox let’s go
6. the ant-eater’s visit

Recorded at SÅJ Studio, Berlin, 2007
Recording Andrew Levine
Mastering Werner Dafeldecker
Liner notes by Thomas Millroth

nvnc-lp012

Sven-Åke Johansson solo. Listen to the way he listens to himself, as if tasting words, resonance, rhythm, movement. And, strictly speaking, he is of course not really playing a solo, but always with himself. His own first listener. . . . During the performance, he at times moves away from himself, as though he were listening to what he is doing, trying to understand where he has ended up. All these words that filled his mouth."

Thomas Millroth

 

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Lind

Sven-Åke Johansson percussion

1. lindgren
2. lindblom
3. lindquist
4. lindström
5. lindrot
6. lindblad
7. lindberg
8. lindman
9. linddahl
10. lindmark
11. lindskog
12. lindå
13. lindfors
14. lindsjö
15. lindholm

Recorded at SÅJ Studio Berlin, March 2010
Recording Andrew Levine
Mastering Werner Dafeldecker
Liner notes by Thomas Millroth

nvnc-lp013

"The percussionist Sven-Åke Johansson is performative. A way to measure space and time. Ever since the album Schlingerland
(1972), he has kept each parameter in his playing in the air like a kite. Rolls, cymbals, the soft fabric of a towel flicking against drum skin. It is not necessary to underline that he manages to paint the whole picture, measure up total space, the big rhythm that envelops every performance, because all of this is self-evident."

Thomas Millroth

 

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