Buscar:kjell samkopf

First-time reissue of a coveted 1982 album from sound artist, percussionist and composer Kjell Samkopf – a heady exploration of natural sound and rhythm made from environmental recordings, vibraphone, marimba and dreamy synths.

A towering figure in Norway’s contemporary music scene, Kjell Samkopf studied jazz vibraphone at Berklee in 1979 before attending a World Music seminar at Karl Berger’s Creative Music Studio in Woodstock, New York, in 1981. This broadened his horizons enough that, on returning to Norway, he was ready to work on his first solo album. Recorded in 1981 at Henie Onstad Kunstsenter, »Music for Solo Percussion and Electronics« showcases the influences surrounding the young composer at the time. Its centrepiece, »Invention No. 5«, was commissioned by Swedish Radio. Samkopf would go on to become Norway’s first professor of percussion at the Norwegian Academy of Music and write a long list of acclaimed works over the course of his career.

»Music for Solo Percussion and Electronics« is hard to define accurately, which might explain why it has remained the preserve of connoisseurs for so long. Undoubtedly influenced by jazz and free improvisation, it is not quite a jazz record, nor does it easily fit into the avant-classical canon. To approach its multifaceted charms, it is best to start at the deep end, with the side-long epic »Oppfinnelse Nr 5 – Invention No 5«. Over almost 25 minutes, Samkopf’s controlled, idiosyncratic expressions highlight his inventiveness. The focus is on percussion, but above all on incredible microscopic detail in the mix. Cricket chirps and distant birds create a tangible natural backdrop as Samkopf follows their lead, layering bells and chimes in response to the environment. It is the final act that leaves us fully ruined, though. Here, Samkopf cracks the biodome, briefly losing the background soundscape as analogue bass enters with a crash of cymbals. Threading through bells and woody clacks, he slowly rebuilds his sonic ecosystem, following the metered, industrial-strength synth as if making a wry comment on technology itself.

»Music for Solo Percussion and Electronics« is one of those endlessly rewarding finds that fills a rare slot in the timeline, somewhere between Midori Takada’s legendary »Through the Looking Glass« (which emerged around the same period on the other side of the world) and Visible Cloaks’ Fourth World-adjacent »Fairlights, Mallets and Bamboo«, which arrived decades later and helped spark the contemporary obsession with percussive music from the margins.