Billetter i salg fra fredag 28. september kl. 10.00!
Den prisvinnende islandske komponisten og produsenten Ólafur Arnalds spiller i Oslo Konserthus 8. juni 2019 etter en over tre år lang turnepause.
Ólafur Arnalds er en multi-intrumentalist som mikser strengeinstrumenter og piano med beats fra elektronisk pop. Han henter inspirasjon fra et vidt spekter av musikk og har blant mye annet en fortid som trommeslager i diverse metalband. Han har turnert med Sigur Ros, og er den ene halvdelen i Kiasmos som er en musikkgruppe bestående av Ólafur Arnalds og Janus Rasmussen.
Ólafur Arnalds nye album «re:member» kan beskrives som en samtale mellom ham og algoritmer; eller et samspill mellom menneske og maskin. Ólafur tar lytteren med gjennom et bredt spekter av følelser, stemninger og musikalske landskap.Vi får høre en kombinasjon av ambient, klassisk, eletronika og til og med pop og rock.
Albumet etterfølger suksessen av det innovative prosjektet "Island Songs fra 2016. Ólafur har også mottatt rosende omtaler for sitt omfattende arbeid med musikk for TV og film; i senere tid for TV-serien "Broadchurch" som han vant BAFTA-prisen for i kategorien "Best Original Music".
Selv sier han dette om musikken:
“This is my breaking out-of-a-shell album. This is me taking the raw influences that I have from all these different musical genres and not filtering them. I always have my hands in many different projects at once, and I feel that this album represents that.”
re:member does curious things. The fourth ‘official’ solo album by Ólafur Arnalds takes the listener through varied moods and feelings, through different musical landscapes. You can hear every facet of his work – the composition, the soundtracks, the pop – bursting through, flowering. When the track unfold opens with what sounds like a stream skittering across rocks, it seems apt, because re:member keeps on moving, never tiring or letting the listener get tired. re:member is an album you can’t forget, because every time you hear it something new and wholly unexpected emerges.
The album is new departure because when Arnalds last finished touring, he decided he was not going to play live as a solo artist until he had something completely new to perform. He was inspired in part by his experiences playing shows with Kiasmos, his experimental techno duo, with Janus Rasmussen. “To experience the sheer unfiltered joy of being on stage, seeing crowd smiling and dancing and jumping – that’s the feeling I wanted to bring to my music.”
Yet part of the reason for the eventual sound of re:member stemmed not from Arnalds’ mental drive, but physical exigency. At the heart of the album are Arnalds’ self-devised Stratus Pianos – two self-playing, semi-generative player pianos, triggered by a central piano which he plays – an invention born of necessity rather than experimentation. “I got into a little accident and I had nerve damage in my hand,” he says. “I couldn’t play the piano for a year, and I wasn’t sure if I would ever be able to play again. It was completely petrifying.” Years before, he had supported Ryuichi Sakamoto on tour and seen the great Japanese musician use self-playing pianos, and he mentioned to a friend that Sakamoto’s set-up was what he needed. “It started as a joke, but I went home and started thinking: maybe there’s something here – not a crutch, but a creative tool. The spark of the idea came from me not being able to play, but it developed into something completely different.”
With his friend Halldór Eldjárn, Arnalds set about developing the Stratus system: software that sends instructions to two pianos, “and the two become one and play together”. Arnalds sets the values that the software feeds to the pianos – the rhythm, the tempo – and those are triggered by chords or notes he plays.