The highly reserved Danish composer Jonas Coltrup returns with his second solo album, five years after his breakthrough album. Between Voice and Silence. Less minimal and more ambitious in purpose, at The Crest he imagines himself as both a contemplative journey and a wanderer in the world of human life.
Between sound and silence, what is this residual space, this small trace that hides badly? What does it mean to be silent when you have nothing else to say? Where does the absence of words hide when the speech ends? Where does the pain hide when the heart no longer beats wildly? Where does the shade of color continue to survive when everything falls under the rule of boring monochrome? When there is no wonder, when the shadows fade into nothingness, where does wonder live? When there’s nothing left to say, what’s to say if it’s all been said and no better? Perhaps we should leave ourselves to silence, to its rhythm, to its paradox. To let go, to stray, to dilute, to wander, to wander. To forget who we are, to walk to forget who we are.
There’s music that entertains, and then there’s music that comes from within, music that frees itself of all utility. the music of Jonas Kolstrup, very instrumental, is certainly not music for entertainment, but a matter of consumption. Rather, a thought sitting within us, or dare we say a kind of meditation, is just a necessary step back. Thus he is freed from purpose, from will, from the desire for illustration. He is very marked by the influence of his former friend and co-worker johann johanssonworks Jonas Kolstrup daring the lyrical orchestra reminiscent of a Schumann or one Mahler. We left Denmark in 2017 with a great first solo album Between Voice and Silence. This disc is very expressive around the piano Kolstrup Having presented a beautifully successful example of the Piano Solo, we already feel the seeds of a much more ambitious orchestral will. at The Crest. the music of Kolstruphere seems to be built around the concept of breath, to be understood as breathing, so much so that each of the arrangements, each of the instruments used (organ), each of the female voices contributes to the auditory impression that seeks a body. as if for air in his lungs to better charge his batteries.
at The Crest at many points it is influenced by grace, swinging between minimalism and maximalism. The disc could be classified as neo-classical, but there is a kind of retrograde reflex in the name that irritates the mind and makes all these discs suspect. In this concept neo, to try to make something new with the old would be to plunge into an academicism where nothing good is ever learned. We would be entitled to try a parallel path to classical music that has adopted the rules of pop, in this case at The Crest it fully corresponds to this trend, this view of things, this aesthetic. Frequently used repeating patterns Jonas Kolstrup turn to electronic music as a certain vision of the fugue.
Jonas Kolstrup He imagines his solo creativity, whose main work is in the illustration of characters for the cinema, as a landscaper drawing sketches of the artist, oceans, mountains. Therefore, there is a sense of infinite smallness in front of the infinitely large. Great romance, music Jonas Kolstrup A wanderer, an eternal wanderer, is a being who shows the world as it is, with its beauty, ugliness, dissonances and stillness. And what’s great about this music, it’s a bit like Tunisians Haytham Mahbouli with more offers and more The last man on earthhis second solo album will be released in December School Records man is completely absent and at the same time completely present in these compositions. It happens when we try to make something or someone forget that it even exists. Jonas Kolstrup probably develops this kind of paradox unknowingly.
In these eight glorious pieces, we also see an absence, a shadow that never quite says its name, that always hides. The shadow of silence is perhaps the shadow of words that will never be spoken. The hope of seeing each other again in the seconds, the minutes, the hours and time that don’t stop dying, slowly fading away, slowly disintegrating in anticipation. And then the already awakened breath, this breath, the pang of labor-like breath, this long passage to life, this gut tunnel to the light. at The Crest it evokes primal moments, peaks that remind us of these long journeys to life and this freedom from the womb, this slow separation between a child and its mother. How can you say so much with so little? When we have no more to say, when we don’t want to be understood, we always talk more.
Then everything becomes music, life, death, silence, landscape, painting. Nothing matters if you don’t hear his music. That Jonas Kolstrup it says this invisible space in the heart of silence, in ourselves.