Underskog

Henrik Munkeby Nørstebø spiller inn ny soloplate i Emanuel Vigelands mausoleum, og inviterer publikum inn til to uhøytidelige lunsjkonserter onsdag 11. oktober : kl 13 og 14

Hans forrige soloplate «Dystopian dancing – for amplified trombone & object orchestra»(2022) inneholder materiale som ble spilt inn i mausoleet, og Henrik vender nå tilbake med fullt PA for å skvise alt som fins av resonans ut at det helt spesielle rommet.

Arrangementet er støttet av Norsk Kulturråd og Creos Vederlagsfond

Tid: Onsdag 11. oktober, klokka 13 OG 14
Sted: Emanuel Vigeland Mausoleum, Grimelundsveien 8, 0775 Oslo

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Henrik Munkeby Nørstebø is a trombonist and sound artist based in Berlin and Trondheim, focusing on
live performance as well as a wide range of compositional and cross disciplinary projects. His current solo setup consists of heavily amplified trombone, analogue electronics and occasional field recordings, and undulates between claustrophobic tension and moments of ecstatic release. Breath is at the core of the project, and Nørstebø is utilizing an air compressor-like use of lungs, nuanced microphone technique and gain adjustments in order to unearth the intense physicality of the inherent low volume sound material. “DYSTOPIAN DANCING” from 2022, his third solo release, showcases this unprocessed material along with an expanded section for “object orchestra”.

Nørstebø has toured extensively since 2010, and released numerous records, spanning from solo to large groups. His collaborative projects include duos with Audrey Chen (BEAM SPLITTER), Daniel Lercher and JD Zazie, the “freejazzpop-band” Skadedyr, new music ensemble Aksiom and a myriad of collaborations with improvisers, visual artists, dancers, entities from around the world.

“A heightened consciousness around a kind of beat based on variations in mouth morphology,
pressure, and capacity ties time to the body, ups the stakes, and feedbacks into its violent undertones. A wide rhythmic palette provides much material for its reworking, which adds eerie noir and air raid sirens, glassy sines, and the ubiquitous clicking of an object orchestra, and the rhythmic raspberries blend with bumps that could come from programming as much as the mouth for a kind of breath-based dub techno.”
– Keith Prosk, Harmonic series