SATIMU 003
CD limited to 150 copies in gatefold sleeve / DL
Release date: 2018-11-30
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Manufactured by Mobineko
Distributed by Diger Distro
EAN: 7041889507412
Agnes Hvizdalek – voice
Harald Fetveit – electronics
Total length 63:42
Live sound and recording by Thom Johansen at Notam/Lydmuren
Mixed and mastered by Harald Fetveit
Cover design by Ellmer Stefan
Thanks to: Arnfinn Killingveit, Avin Khadir, Benny Nelson, Bjørn Hatterud, Børre Mølstad, Cato Langnes, Daniel Lercher, Einar Goksøyr Åsen, Ellmer Stefan, Elisabeth Gmeiner, Ezaki Masufumi, Franz Hautzinger, Go Tsushima, Goodiepal, Guro Moe, Gyrid Nordal Kaldestad, Hankil Ryu, Haruhisha Tanaka, Hild Sofie Tafjord, Hong Chulki, Håvard Skaset, Ingvild Kogstad Brodal, Irma Ellmer-Pallin, Isario Atushi, Jacky Hess, Jerry Gordon, JIn Sangtae, John Hegre, Jonathan Heilbron, Jørgen Skjulstad, Kai Holmen, Kana, Karl Sparre, Kashif Iqbal, Kenneth Korstad Langås, Lasse Marhaug, Lene Grenager, Leslie Low, Lo Wie, Mari Haugerud, Marie Torvik Fidjeland, Mark Cetilia, Natsu Kashiwamoto, Niklas Adam, Okkyung Lee, Petter Flaten Eilertsen, Ruth Marie Bottheim, Thom Johansen, Tina Montenegro, Ute Pinter, Vivian Wang, Werner Korn, Will Bradley, Will Guthrie, Yuen Cheewai, Øyvind Mellbye
© 2018 Agnes Hvizdalek/Harald Fetveit
℗ 2018 Sanntidsmusikk
Reviews
“Way overdue debut release of Norway’s finest improvising noise/voice duo. An hour long piece that is equally pleasing/challenging to the ears and time well spent for the adventurous music lover.”
– Lasse Marhaug
“Listening to ‘Hvizdalek, Fetveit.’ is a wild trip through a turbulent landscape of hyperborean darkness, where valkyries overeat on amanita muscaria in the forests, trolls drum like madmen in the mountains, and rodents run towards the sea, only to face an armada of sail ships repeatedly crashing into the cliffs of a frozen fjord.”
– Bjørn Hatterud
“Teach Thy Tongue To Say
Fantastic vocal-’n’-noise record called hvizdalek, fetveit. (SANNTIDSMUSIKK SATIMU 003) and featuring the talents of Agnes Hvizdalek and her super-turbo mouth, with the electronic gumbo-wrangling of Harald Fetveit. Tune in instantly to receive over one hour of this glorious rumble which is every bit as compelling as a forest fire in a rainstorm, with passages of snow and ice for those who like a chaser on the side. You may recall Agnes Hvizdalek set the world to rights with her 2017 album Index, which had fingerprints on the coverand entailed this Austrian woman putting her head in a factory chimney to emit resonant billows. Harald Fetveit I don’t know hardly at all, but he’s likely to be of the Norwegian persuasion, is a member of Norwegian Noise Orchestra, and in the past he has traded hot lupins with Lasse Marhaug, John Hegre, and Lene Grenager. Oh and apparently he was in Baktruppen, those zany Nordic loons of outdoor art performance events.
This particular burst was captured live in Oslo in the latter half of 2016. No editing was necessary and the two players sustain energy levels for the full hour, requiring no omelette nor rhubarb for sustenance. What I’m grooving to on tonight’s spin is the relatively low-key nature of the electrical sounds, which burr and buzz pleasantly but very insistently (abrading away the enamel on your teeth), while vocal acrobatics of the lovely Agnes are like chattering bees, demented pangolins with long tongues, gibbering puffins disguised as the Old Man of the Forest. I do love a good noise that keeps on going and going, wearing away resistance, yet I also like something that gives a fellow enough space to stretch out the old tootsies in stocking feet. It’s not every night that I have the stamina to push back against eight tons of harsh noise wall like so much black steel, and once in a while it’s a pleasure to make your bed on this soft cactus dripping from the semi-comfortable planetoids.
This label, by the way, is run by the handsome fellow Petter Flaten Eilertsen, in a very erratic way. He managed to put out two CDs in 2006, then had a long hiatus resting in bed, until this popped up in 2018. Petter has been in lotsa bands, but I think we mainly know him through Kobi. Back to the record now to enjoy further delicious moments of crumbling ashes in the digital logs as they smoulder and smoke in the furnace, while Agnes trills and bubbles like an upside-down parakeet learning to speak Urdu in Morse code. A total winner…many thanks to Harald for sending this. Arrived 29th November 2018.”
– Ed Pinsent, The Sound Projector, 01/06/2019
“We are in the company here of a duo of Agnes Hvizdalek (voice) and Harald Fetveit (electronics), producing some of the most extreme experimental music one can imagine. Hvizdalek is vocalist and improviser originating from the experimental music scene of Vienna, based in Oslo since 2008. Abstract vocal music is her thing, exploring it in much multi-disciplinary collaboration. Fetveit is a central force of the Norwegian noise music scene since the early 1980s. Toured the globe and worked with artist like Anla Courtis, Taku Unami, Seijiro Murayama, John Hegre, among others. They entertain us with a one-hour lasting improvisation of voice and primitive electronics of a very extreme kind, which is also of a very reduced kind of music, as they say, goodbye to many if not most conventional musical aspects. They create an intriguing micro-world of sounds and noises. And when your ears are a bit accommodated to it, you discover a richness of nuances. Hvizdalek’s technique results in a wide variety of very abstract vocal sounds that sometimes come close to electronics sounds. This makes this one interesting. Their interaction is concentrated and full of tension throughout. I find it difficult to speak of ‘development’ here, but their interactions, sometimes pulse-driven, change during the one hour set in a way that kept me fascinated. Still, I ask myself why one hour? Sanntidsmusikk, a label that started in 2006 and revived in 2018 after a very long silence, released this.”
– Dolf Mulder, Vital Weekly number 1170
“Et godt album for mørketida
Lite lystighet å spore, men mye fortreffelig alvor.
Det er som å åpne en dør og stige inn i rom uten eksistens. Den abstrakte musikken bygger interiører av lyd som er like omskiftelige som flimmer – eller fastlåste som stillbilder. Det vi hører på «Hvisdalek,Fetveit.», befinner seg midt mellom ytterpunktene, og tar oss fra sted til sted i avpasset tempo. Harald og Agnes produserer sterke bilder for det indre øyet, både til ubehag og velvære. Live-opptakene er gjort på Notam i Oslo i 2016.
Ta den første lyden som møter opp på albumet. Det er en foruroligende og hissig utlegning, heller lite menneskelig av vesen. Elektronikkens iboende kjølighet setter straks merker i musikken. Harald Fetveit er kresen på hva han produserer og tydelig på hva han vil. Kvaliteten ligger i detaljene. Det er lett å la seg trekke inn. Når Agnes Hvizdalek kommer inn med stemmen sin, underbygges grunnstemningen. Det hviler noe knirkende klaustrofobisk over anslaget, men vi blir ikke værende på samme sted. Brudd og kontinuitet lever uanstrengt sammen gjennom dette mer enn timelange sporet.
Det begynner å bli en stund siden jeg hørte Agnes Hvizdalek for første gang. Den personlige kvaliteten hun den gang framviste, har blitt værende. I det store feltet av improvisatører som bruker stemmen som instrument, er særpreg en truet art. Egenart må pleies og utvikles. Det har Hvizdalek åpenbart forstått. Slik jeg hører vokalisten, bruker hun stemmen primært for å lage lydkunst, i dette tilfelle ved å underbygge, kommentere og gi retning til det som kommer fra Fetveit. Det er neppe et følelsesmessig basert fundament Hvizdalek bygger musikk på. De gangene hun får rommet alene, vekker lydene helst undring. Ja, det er en stemmebruk godt hevet over det hverdagslige.
Harald Fetveit er en mann for turbulens. De gangene musikken rister som heftigst, er det hans analoge, spesialbygde elektronikk som virker. Jeg nevnte ubehaget i musikken, og det er nettopp rystelsene som fremkaller dette. Når Hvizdalek besvarer disse bevegelsene, er det vanskelig å sitte uberørt i svevet. De gangene duoen nærmer seg støy, er det i en form som unndrar seg det massivt kompakte. De gir gjennomtrengeligheten greie vilkår, selv når de er sammen om å tømme seg over oss. Duoen byr ellers på en rytme som ikke innbyr til tradisjonell dans. Det hører imidlertid med til historien at Fetveit har jobbet med samtidsdansere. Mine trinn forflytter seg kun i hodet!
Fetveit og Hvizdalek har visstnok jobbet sammen gjennom ti år. Det må ligge til grunn for det fine estetiske fellesskapet de her formidler fra.”
– Arild R. Andersen, Jazz i Norge, 13. desember 2018
Sanntidsmusikk 