Written about Wendra Hill For / John Harries Grey Sea Over a Cold Sky Ensemble:

Issued in cassette and digital formats, this split release presents two contrasting takes on small group improvisation and electroacoustic exploration. Whereas the A side features seven short pieces by Wendra Hill For, the B presents two settings by John Harries, one a largely solo affair and the other a long-form composition realized by the Grey Sea Over A Cold Sky Ensemble.

Guided by the spirit of collective improvisation, Wendra Hill For grew out of Wendra Hill, an Oslo-based duo project originated in 2014 by cellist Joel Ring and guitarist Jo David Meyer Lysne. With Jenny Berger Myhre and Tobias Pfeil added to the lineup, the four developed the project's identity during performances in Europe and Japan in early 2017 before recording the cassette's material in Oslo with flutist Henriette Eilertsen guesting on two tracks. Each quartet member's credited with a number of instruments, but it makes more sense to emphasize the collective sound mass the musicians generate than fixate on individual contributions; for the record, clarinet, cello, electric bass, cassette tapes, guitars (acoustic, twelve-string, prepared, electric), bells, flute, saxophone, and zither were the sound sources drawn upon to create the seven productions.

Connecting lines to musique concrète, acousmatic music, and jazz improv are drawn in settings that see the participants freely exploring and interacting, and though a shared sensibility unites them, differences between the tracks are readily apparent. In “Utomhus,” where the tinkle of a music box collides with rustlings and noises of indeterminate origin, the music unspools like some creaking, broken-down machine. The rustic sawing of the bowed cello appears alongside the sci-fi swoop of a theremin-like instrument in “Okroppslig,” while “Omsonst” flickers and contorts through a field of guitars plucks and strums for two destabilizing minutes. In a suite of pieces that are less formal compositions than sound experiments, Wendra Hill For gives birth to a spidery music packed with tiny gestures and events.

Founder of the Lumen Lake label, Harries is also a drummer and electronic musician based in London, England. Don't think, however, that the two pieces he contributed to the cassette release are drum-driven or rhythm-centered workouts. The first, a semi-improvised piece titled “Grey Sea Over a Cold Sky” and executed by Harries and the Grey Sea Over A Cold Sky Ensemble (fourteen members, including him), does, however, revolve heavily around percussion, scored as it is for eight (or more) cymbal players and high-pitched instruments. With the performers working from a pictorial score and guided by simple instructions, the piece undergirds upper register squeaks generated by saxophone and violin with an impenetrably dense mass of cymbal rolls, the resultant effect not unlike a noisy improv drone The Velvet Underground might have spawned at one of its early live gigs. Halfway through, with the material having settled comfortably into a controlled roar, a lightning storm of sticks-produced cymbal accents appears to intensify the activity level and make the drone feel even more combustible. Largely a homemade solo performance, “Tea, Coffee, Pepper” ends the release with four minutes of vocodered voice effects, organ wheeze, clarinet drones, scratchy noises, and soprano sax overdubs, the latter by by Harries' dad. How fitting that the result is so similar in style and spirit to the material by Wendra Hill For that it could be mistaken for one by the quartet than Harries.

- Ron Schepper, Textura (CAN)


«Grey Sea Over A Cold Sky» is a split cassette, featuring two electro-acoustic groups, with both acoustic and electronic instrumentation, and connected by the friendship of Norwegian Jenny Berger Myhre and British John Harries.

Wendra Hill For – named after seminal jazz pianist Andrew Hill – explores close collaboration and communication in a small group setting, in conjunction with compositionally integral digital editing. This improvising collective was formed in 2014 by guitarist Jo David Meyer Lysne and cellist Joel Ring, later joined by visual-sound artist-composer Jenny Berger Myhre and multi-instrumentalist Tobias Pfeil, adding flutist Henriette Eilertsen on two tracks. The group recorded eight tracks in Oslo in December 2017.

Wendra Hill For arranges and processes its chamber, acoustic interplay blended with a subtle layer of electronics and assorted field recordings and yoga-sessions on vinyl and cassette-tapes samples to a micro level in post production. The atmospheric, cinematic envelope on pieces like «Okroppslig» highlights this group search for its own sound – fragile, suggestive and detailed and its unique textures – mysterious, tensed and often melancholic and disturbing, as you you can hear the cutting, glitching and digital noises that play a significant role of the aesthetics of Wndra Hill For.

The London-based John Harries is an improvising drummer, electronics player and a founder of the artists’ collective, live performances and independent label The Lumen Lake. His side of the cassette begins «Grey Sea Over A Cold Sky» is a semi-improvised piece for eight or more cymbal players and high-pitched instruments, based on a pictorial score and some simple instructions. This ambitious, 16-minutes work creates endless and untimely motion of waves of delicate and meditative resonating tones and overtones. It reflects in its own way a sonic landscape of grey sea and very cold sky, and brings to mind the works of Japanese percussionist Tatsuya Nakatani and his Gong Orchestra. The second, shorter and more playful piece «‘Tea, Coffee, Pepper» was made at Harries home on his own, with soprano sax overdubbed by his dad (the other John Harries) later on, and radiates a brighter spirit.

- Eyal Hareuveni


Written about Henger i Luften:

Chi segue con devozione il suono del nord – come titola il bel libro di Luca Vitali sulla scena jazz norvegese – probabilmente avrà già sentito parlare di Jo David Meyer Lysne: non fosse altro perché, prima di questo Henger I Luften, il giovane chitarrista e compositore (classe 1994) aveva già inciso un album insieme a Mats Eilertsen, contrabbassista jazz d’eccezione e autore di pregevoli lavori, tra cui il recente And Then Comes The Night, appena uscito su ECM.

Questa volta Meyer Lysne atterra sulla sempre ottima Hubro in testa a un sestetto (sono della partita chitarre, sax, synth, viola e violoncello, contrabbasso, vibrafono e grancassa) che a ben vedere esercita dinamiche paritarie, sebbene tutti i pezzi abbiano una natura compositiva (ad eccezione di “Uten Feste”, un’improvvisazione collettiva in odore di spettralismo romitelliano). Le incisioni sono poi finite nelle mani di Jo Berger Myhre. Nome già noto agli affezionati di casa Hubro, il contrabbassista del trio Splashgirl ha curato missaggio, produzione e firmato il tutto tramite accurati interventi elettronici. Merito suo se, ad esempio, le chitarre di Meyer Lysne – un’acustica e una dodici corde preparata – suonano straordinariamente fedeli, talmente limpide che pare quasi di ascoltarle in prima persona, dal vivo.

Il disco inizia con un crescendo percussivo, ipnotico e verticale, imbastito su una sola nota ripetuta tra cinguettii e il violoncello che dipinge immagini floreali, primaverili, e che sembra uscito da Bris, lo splendido album del violinista Nils Økland (pubblicato nel 2004 da Rune Grammofon). Subito si schiude una realtà parallela in cui c’è davvero di tutto: free folk, musica da camera, elettronica, sound design e un’atmosfera generale degna di un (futuro) classico ECM, ma senza pose nordiche né formalità di sorta. Brani come “Saktere Dager” richiamano quel tipo di camerismo astratto, falsamente aleatorio e in punta di sussurro che su queste pagine abbiamo approfondito grazie al Bestiario di Francesco Massaro. Qui e altrove è la chitarra a pizzicare su un manto di volontà inespresse o, meglio, trattenute sulla soglia; oppure, come in “Oslo”, a stendere arpeggi emozionanti su volute di archi che si incrociano a mezz’aria.

L’intesa tra gli strumenti è un affare delicato in dischi come questo: però esiste e dà vita ad attimi fuggenti di rara e fragile bellezza. Del resto, l’intero Henger I Luften dura meno di mezz’ora; ma se di promessa si tratta, è una promessa che Jo David Meyer Lysne è già riuscito a mantenere.

- The New Noise, Davide Ingrosso (IT)


Alors que j'écris ces mots, ce que je n'avais pas prévu de faire, en tout cas pas si tôt, pas comme ça, j'écoute Henger I Luften sur l'autoroute, dans mon bus, au chaud (merci l'air conditionné), à regarder les paysages enneigés qui défilent à toute allure. Et, me rappelant ma première découverte de l'album, à déambuler dans les rues de Lille la nuit par temps frais, je me prends à penser que c'est un beau talent de savoir rendre le froid confortable. Si le label Hubro, basé à Oslo, est spécialiste de ce genre de feeling, avec ses disques à prédominance acoustique, ses productions nues et ses arrangements épurés, le micro souvent placé au plus près des instruments pour en faire capter toutes les fêlures ; il me semble que cette sortie de Jo David Meyer Lysne se distingue néanmoins assez nettement de nombre de ses camarades. En ceci que même s'il partage le langage et la spontanéité de nombre de musiciens improvisateurs qui peuplent le label, Lysne compose et sait pertinemment où il va.

Henger I Luften, il paraît que ça veut dire "pendre en l'air", et c'est ainsi que l'on est accueilli en ces rudes contrées : par une musique qui flotte là, toute en frottements de cordes, en souffle continu dans un saxophone bouché, en cordes métalliques qui résonnent et bourdonnent sur la guitare préparée de Lysne, en piaillements disruptifs à la flûte, en grondements et ponctuations sèches de contrebasses... Une musique, qui ne semble d'abord pas vouloir s'engager plus que ça, restant là, à sonner sans trop savoir où aller, pour en fin de compte se déplacer comme portée par un courant d'air, par petites touches éparses, pour se poser sur le dos d'un petit mammifère des bois qui se dépêche de se faufiler à toute vitesse jusque dans son terrier à notre approche, laissant dans son sillage une mélodie agile. Il y a une grande humilité dans ces compositions qui ne prennent pas la musique pour acquise et la laissent venir patiemment, qu'elle soit légère et confortable, pensive, statique ou, parfois, plus oppressante. Si la plupart des timbres que l'on peut entendre sur le disque paraissent a priori purement acoustiques (à part quelques discrètes incursions synthétiques, comme sur les mouettes lointaines de "Februar"), bien souvent des manipulations électroniques se cachent derrière, contrôlant la manière dont le son nous parvient... mais ces manipulations sont si subtiles que l'on y voit que du feu, sans se douter qu'une des raisons qui fait que ce que l'on entend sonne avec une telle précision, ou si certains timbres accrochent curieusement l'oreille, c'est qu'ils sont passés par un traitement minutieux en studio.

Tout cela n'est pas gratuit, car en somme cela permet aux musiciens d'affiner l'intensité et la couleur des paysages hivernaux auxquels ils tentent de donner vie. Et plus encore, cette subversion douce des timbres acoustiques, experte mais jamais démonstrative, crée des impressions impossibles, comme celle d'être emmitouflé dans une couverture faite de neige et de coton, quand bien même le froid peut se faire mordant et l'obscurité parfois nous rattrape. Très simplement, un album rude mais confortable.

- (FRA)


Familiarity with a project's origins is fundamental to any appreciation of creative work, and Henger i Luften (Hang in the Air) by Norwegian guitarist Jo David Meyer Lysne is no exception. By the young multi-instrumentalist's (b. 1994, Bergen) own account, its music originated in 2017 when he received a commission to write material to accompany silent films for an Oslo festival. Concurrent with the writing stage was the assembling of an ensemble to render the music into physical form, a move that in turn inspired him to draw from the musicians' different backgrounds during the creative process. In his words, “I tried to make space for each individual's musicianship and strong personality both in the acoustic and electronic elements of the performance.” Augmenting the leader's acoustic guitar and prepared twelve-string guitar are cello, sax, viola, synthesizer, bass, vibes, and grand casa (a large, two-headed drum).

Eight very different sounding settings (seven formally composed pieces and one collective improvisation) resulted, all custom-fitted for a cinematic viewing experience. It's worth noting that the material spawned from the initial studio recordings in Oslo was substantially reshaped, with Lysne rebuilding the pieces by editing the strongest elements from the improvs and adding more instruments. What's heard on the album is thus a transformation of what went down in the studio. Any appraisal of the final product would be incomplete without acknowledging the contributions of co-producer (and Splashgirl member) Jo Berger Myhre, who, with Lysne, brought a remarkable degree of clarity to the recording.

That all the sextet's members extended their instruments with electronics or synthesizers makes for an unusually rich sound field. Such background helps clarify why Henger i Luften parts so dramatically from Meander, Lysne's 2017 outing with Mats Eilertsen. Whereas that release emphasizes the interplay of acoustic guitar and double bass, the new one is stylistically more variegated and experimental, the focus less on the leader's primary instrument, even if it's still a prominent element on the recording; there's also less concentration on conventional song form and more on atmospheric sound design. It's easy, in short, to visualize these pieces accompanying film imagery that, based on what's presented, could conceivably have ranged from bucolic to horrifying.

At album's start, “Svalene på Årnes Brygge” quickly blossoms into a widescreen dreamscape of strings, percussion, sax, and abstract elements, with a metronomic, presumably guitar-generated pluck the thread holding the electro-acoustic display together. The album standout “Saktere dager” arrests the ear with a dazzling array of textures, including breathy sax, bowed vibraphone, and plucked cello, the result an eerie soundscape so visually suggestive no film accompaniment's needed. The greatest plunge into electronic territory arrives in the closing “Februar,” which, despite the audible tinkling of the vibraphone, sees Lysne tackling ambient soundscaping. Also provocative is the title track, which plunges boldly into abstraction when shudder, shimmer, and rumble flood the soundfield and accentuate the music's unearthly character. Here and elsewhere, tension arises between a recognizable element such as acoustic guitar, sax, viola, vibes, or cello and others less identifiable.

Issued in limited-edition vinyl (300 copies) and download formats, the album is a lean thirty-two minutes yet doesn't feel incomplete (though “Oslo,” arguably the track closest in spirit to Meander, is so lovely one wishes it lasted longer than two minutes). Henger i Luften does, however, leave you wanting more, always one of the better things that can be said about a release. Its title, incidentally, derives from Rilke, specifically his conception of music of “Air's other side, pure, gigantic, and not for us to inhabit.” Certainly music's capacity for ethereal and enigmatic conjuring is well-accounted for on Lysne's release.

- Textura (CAN)


Norwegian guitarist Jo David Meyer Lysne is only 25 years old but already has developed an idiosyncratic aesthetic that borrows from the quiet, minimalism of Morton Feldman, the sparse, atmospheric soundscapes of guitarist Steve Tibbetts, and experimental sound art, all channelled into evocative, cinematic textures. His debut album as a leader, Henger i Luften (literally, ‘Hang in the Air’), is inspired by poet Rainer Maria Rilke’s conception of music: “Air’s other side, pure, gigantic, and not for us to inhabit”. This album follows his intimate duo with double bass player Mats Eilertsen (Meander, Øra Fonogram, 2017).

Henger i Luften features a chamber like acoustic sextet. Half of the musicians, including Lysne himself, extend their instruments sonic palette with subtle electronics. The ensemble was assembled to perform Lysne’s music for a silent film. Lysne recorded the ensemble in studio, then took the best realized ideas from the studio improvisations, recomposed and edited these pieces into a coherent cinematic narrative, with the help of producer-double bass player Jo Berger Myhre (from the Splashgirl trio).

Henger i Luften lasts only 32 minutes (and released as a limited-edition vinyl plus digital download option), but manages to suggest highly imaginary, enigmatic soundscapes. These soundscapes maintain a strong tension between the pure, dreamy sound of the acoustic strings instruments - Lysne’s acoustic guitar and prepared 12-string guitar, cello, viola, bass, plus the vibes, grand casa and sax, and the subtle yet sinister, ambient-synthesizer envelope. Lysne sketches with this tension detailed images of light and shade and desolate, frozen landscapes that intensify the cinematic drama. Lysne’s guitars tower in these mysterious soundscapes as a lone mountain that resonates and sings his hypnotic chants in an endless space, letting these sounds hang in the air.

- Eyal Hareuveni (IL)


Sånn Hubro du kan svette til.

SALT Art and Music ligg ved Operaen, rett over bukta. Bak eit enormt vindauge sit halvnakne, sveitte menneske som i går kveld lytta til gitarist Jo David Meyer Lysne.

Lysne valde nemleg konseptet Sauna Sessions som ramme for platesleppet av «Henger i Luften», utgjeve på Hubro. Musikarane, bassist Jo Berger Myhre, saksofonist (også med synth!) Karl Hjalmar Nyberg og Lysne, var plassert i kaféen under saunaen, medan lyden vart sendt ut til folket i saunaen. Eg valde som eit par andre sjeler å sitte påkledd inne i kafeen. Om Building Instrument er sånn Hubro du kan danse til, er Jo David Meyer Lysne sånn Hubro du kan sveitte til.

I 2017 kom Meyer Lysne med Duo-plata «Meander» på Øra Fonogram. Den gongen med Mats Eilertsen på kontrabass. Det vart ei sterk, varm plate der Meyer Lysne mellom anna viser seg som ein usedvanleg melodisterk gitarist. Eg håpar eg ikkje trakkar på nokre tær når eg nemner «Beyond the Missouri Sky» som ein assosiasjon her. «Henger i Luften» er meir lydmalande og …ja, musikken heng meir i lufta.

Og det er uforskamma god musikk som heng der.

Saka held fram under bildet.

Bordplategitaren til Jo David er preppa med alskens verkty, vifter og klyper. Ut kjem dei vakraste knirkelydar og sylskarpe sinusar. Saman med det Jan Bangske synthspelet til Nyberg og varmen frå kontrabassen teiknar dei eit landskap der du berre vil legge og drøyme. Jo Berger Myhre kom med den enorme «The Third Script» i 2017 saman med den Islandske Ólafur Björn Olafsson. På «Henger i Luften» bidreg han med noko av det same store. Men han gjer det stort ved å dyrke frekvensane over lang tid – frå det mest forsiktige, minste frø.

Jo David landar nokre klare, tydelege, reinspikka harmoniar på gitaren ut av det abstrakte klangbadet. Du høyrer det på tittelsporet «Henger i Luften”. Etterkvart kjem også små melodiar frå Nybergs syngande saksofon. Det er modig og enormt effektfullt. Voggeloopane, som på “Saktere Dager” leiar oss inn i transen, og så kjem det slike klare tema og fortel oss noko. Det vekslar heile tida.

Som på plata ligg det ein optimistisk grunntone gjennom heile konserten. Frå opningssporet “Svalene på Årnes Brygge”, til svevande og nesten smilande “Februar”. Det er så reint og klart heile tida. Men det er dei små skeivheitene, det uregelmessige i biletveven, som gjer det vakkert. Nyberg som knurvar flisa på saksofonen og perkussive slag på gitaren.

Saka held fram under bildet.

Konserten er ikkje lang – berre rundt 40 minutt – men det var samtidig naturleg i denne samanhengen. På plata har for eksempel det trygge temaet på “Oslo” ein funksjon som ikkje får heilt plass på sauna-konserten. – Det ble kanskje litt mer ambient her, seier Jo David etter konserten. Det var perfekt det.

Varmen og den høge luftfuktigheita på SALT gjorde utvilsomt noko med lyttinga. Vi vart slappe, tunge, slitne, nesten søvnig – men på ein god måte. Det gav ein ekstra dimensjon der det var lettare å gå inn i det musikalske rommet dei tre skapte. Ei oppleving av flyt. Eg har trua på konsertsituasjonane vekk frå scenene. Det gir publikum tilgong til situasjonar som elles inspirerer musikarar og komponistar. Dei blir ikkje inspirert av konsertsalar.

Det blir ikkje min siste saunakonsert. «Det blir en «vanlig» konsert dette», var beskjeden. Godt, tenkte eg. Det ser kanskje litt rart ut å sitte med blokka naken og sveitt. Men eg innsåg fort at denne opplevinga ikkje er fullkomen utan saunaen. Men Jo David Meyer Lysne kan eg høyre på i kva som helst slags rom – også på den tradisjonelle konsertscena. Eg gler meg til neste episode.

- Jazzinorge, Torkjell Hovland (NO)


Den musikalske landskapsarkitekten

Jo David Meyer Lysne unngår Spotify, bruker fortsatt CD-er og spiller på gitaren sin med en sprettball. Nå er han aktuell med andrealbumet som er nøyaktig like sært som ham selv.

– Det har vært mange parallelle prosesser med materialet. Flere ledd med rekonstruksjon og komposisjon. Likevel synes jeg at bandets cinematiske utgangspunkt skinner igjennom på hele skiva.

Jo David Meyer Lysne snakker ut om sitt nye soloalbum, som han i disse dager er aktuell med. Men den 24 år gamle komponisten er ikke ny i gamet, og har samarbeidet tett med andre norske musikere som Bendik Baksaas.

Historien bak «Henger i luften» startet med at Meyer Lysne for noen år siden fikk et tilbud om å lage musikk til en filmvisning på Cinema Neuf. En 20-talls stumfilm ved navn «Mother».

– Jeg så for meg både instrumenter og musikere å samarbeide med i forbindelse med filmen. Etter en vellykket fremføring, spurte jeg om de ville være med i studio, omlag et halvt år senere. Og videre fikk albumet også utvikle seg i studioproduksjonen.

Ballen ruller. Og enkelte spor som han skrev til stumfilmen, har også kommet med i det aktuelle albumet. Eksempelvis låta «-».

– Det er bare for å bryte opp, at jeg kalte den «bindestrek».

Slik skaper han slags tittelsporpoesi:

– For å kunne skape en slags musikalsk form også ved bruk av tekst, lyder forklaringen.

Til forskjell fra debuten, «Meander» fra 2017, der musikken er inspirert av området rundt hans egen hytte, har andrealbumet langt flere lag, og en større historie. Han beskriver det nærmest malerisk:

– Det starta med det cinematiske lydbildet, og så har jeg hatt litt annerledes arbeidsprosess hele året. Jeg lot materialet ligge lenge, tok det opp og lot det ligge igjen. Det har påvirket meg veldig mye, i hvert fall i studioarbeidet, forteller han.

I hovedtrekk er «Henger i luften» en samling av forskjellige inntrykk fra det siste året, som har vært «helt sykt», ifølge ham selv.

– Titlene er litt basert på forskjellige inntrykk jeg har hatt, mens materialet er blitt til. Fragmenter av ting man husker. Den første låten er om et sted som kjæresten min er fra, og så er jeg tilbake til glatte gater i Oslo, uten feste.

Så fikk han en datter i februar, dermed ble denne måneden tittelen på avslutningssporet.

Det har vært mye eksperimentering for å få klart albumet, både i samspillet mellom elektronisk og fysisk.

– Utover våren brettet de elektroniske lydene seg litt utover albumet. På et tidspunkt ønsket jeg også å jobbe med flyten og sammenhengen på platen. Egentlig har låtene hatt sine egne prosesser. Jeg dekomponerte veldig mye etter innspilling i studio. Jeg har kanskje tatt utgangspunkt fra idé, til komposisjon, lagt på lag, og klippet. Det er komposisjon i mange ledd, og i mange faser.

Så kom han over Jo Berge Myhres album «The Third Script». Han sendte ham en melding: «Hvem hadde produsert dette?». Det var ham selv.

– Han hadde interesse for materialet mitt, og jeg fikk ham med på å produsere og mikse. Jeg fikk veldig kick av å jobbe med ham. Så ble det også en egen prosess. Jeg er i en posisjon der jeg kan jobbe mye med egen musikk, og elsker albumformatet.

– Hvorfor er albumformatet så viktig?

– Pappa hørte sykt mye på skiver. Han skrudde forsterkeren på fullt og gikk og lagde mat, og så satt jeg igjen i stuen og hørte på. Også er det noe med det som utøver, at jeg er veldig rastløs musikalsk. Jeg har tusen ideer, og vil bare lukke det kapittelet. Det er så mye jeg vil gjøre, sier den stadig CD-kjøpende komponisten.

– Og som lytter klarer jeg ikke høre på Spotify, jeg blir rastløs av det, og må bare skifter låter hele tiden, fordi du ser noe annet hele tiden, blir distrahert, ting jeg vil sjekke ut. Jeg tenkte resette det der, heller gå hjem og høre på noe, lytte.

Det er alltid en grunnlyd i hver låt som gjør utgangspunktet for komponeringen. Han har en klar favoritt:

– Det er veldig gitarorientert, forteller han.

Men det er lite vanlig gitarspill. På «Saktere dager» spilte han gitar med sprettballer på, knyttet til en pinne – så man får en kontrollert spretting, og skygget så lyden med strykere i ulikt tempo parallellt. Han er også veldig glad i et perlebrett han bruker og en malekost. Han har også brukt lekesynthen til datteren sin, og spilte på den med gitarplektrene sine.

– Gitaren kommer fra rock-perioden min fra ungdomsskolen. Senere har jeg bare spilt kassegitar. Det er noe deilig med det, som om man lager en boble rundt seg selv, at lyden blir annerledes i alle rom, menn grunnlyden vil alltid være på samme nivå. Det responderer alltid likt på dynamikken.

– Det er mye lyder på gitaren jeg lager med de ulike teknikkene, og det synes jeg er gøy, å jobbe med de elektroniske rommene. Det er som du føler at bitene faller på plass. Og sånn kan jeg sette sounden. Det er som man plutselig finner den plassen, til å sette lydelementet inn i bildet på. Den kommer av rommet jeg er i. Det er mye som er inspirerende med et rom.

- (NO)



Plateselskapet Hubro imponerer gang på gang; rett og slett med en høy frekvens av utgivelser langt utenfor mainstream – noen av dem helt formidable, som fjorårets Building Instrument-album.

Dette er plater som når du har hørt dem lurer på hvor dette kom fra, hvorfor du ikke har hørt det før – og om du noensinne blir ferdig med dem.

Perfekte utgivelser, altså, musikk som lever sitt eget liv utenfor trender og sjangre.

Bergensgitaristen Jo David Meyer Lysnes debutplate passer godt inn i dette mønsteret. Her er mye luft, mye repetisjon, og mange lyder som svever tilsynelatende retningsløst rundt (perkusjon, pust, pedaler) – jordet med en basstromme eller enkel rytmisk plukking fra strengeinstrumentene.

Og så setter jeg alltid pris på musikk som gir seg tid, som gir plass til instrumentene (nydelig produsert av labelmate og navnebror Jo Berger Myhre fra trioen Splashgirl), og som makter å sette sammen tilsynelatende løsrevne biter til en fargesprakende collage, som gir meg følelsen av flo og fjære, av pust, av liv. Det låter organisk; som noe som har vokst frem av seg selv.

- Bergensmagasinet (NO)


In Inghilterra e in America il folk da camera si traduce spesso in una versione un po’ più elegante e barocca di stilemi rock e cantautorali già ben noti, come se le coloriture di un ensemble classico potessero automaticamente nobilitarne le fattezze e di rimando qualificarli come musica “colta”.

In Norvegia no. Benché la nuova generazione scandinava non sia estranea al lirismo né a certe pratiche virtuosistiche, il dominio della strumentazione pre-moderna è uno scrigno di ghiotte e infinite opportunità di sperimentazione espressiva, applicate in sessioni che dalle prime battute all’approdo finale riescono a mantenersi slegate da solidi riferimenti di genere.

Chitarrista, compositore e improvvisatore, il giovanissimo Jo David Meyer Lysne (classe 1994) è tra i pochi veri esordienti del catalogo Hubro – costellazione di elementi eterogenei in continuo interscambio – ma lasciano piacevolmente sorpresi la pertinenza e il dinamismo creativo del suo breve Lp d’esordio “Henger i luften” (traducibile come “librarsi in aria”). Quello del sestetto da lui stesso condotto è un delicato compendio di sonorità acustiche carezzevoli, un equilibrio sottile di note dette e non dette, fonemi sussurrati in una lingua che i loro artefici sono certi non potremo interpretare, ma il cui fascino può nondimeno sedurre chiunque.

Ma a eccezione della fitta ragnatela di acuti stridenti nell’unico episodio improvvisato “Uten feste” (“senza ancoraggio”), la morbida alchimia ottenuta in studio non è l’esito aleatorio di prove libere: Meyer Lysne è infatti l’autore di sei partiture le cui incisioni sono state successivamente rielaborate con effetti elettronici discreti e sapienti da Jo Berger Myhre – bassista particolarmente attivo sulla scena nazionale da più di un decennio anche col trio Splashgirl, e in veste di produttore già al fianco di Nils Petter Molvær e Jenny Hval & Susanna –; il suo intervento è volto ad accentuare i contorni e le screziature delle tecniche estese messe in pratica dai musicisti, conferendo un’ulteriore ariosità a suoni che già in origine hanno il caratteristico respiro del free folk nordico.

Chitarre acustiche, sassofono, viola, violoncello, percussioni e basso si svincolano continuamente dalla loro identità sonora più riconoscibile, tramutandosi a piacimento in un brulicare di soffi, battiti e pizzicati sotterranei (la title track e “Saktere dager”) oppure confondendosi in nuvole di suono “fantasma” (“Februar”) ove soltanto l’arpeggiato di Meyer Lysne si conserva cristallino (“Oslo”).

Bozzettistico ma promettente, “Henger i luften” entra a far parte delle edizioni limitate in vinile di casa Hubro, probabilmente destinato a diventare una chicca per i più devoti collezionisti del corposo catalogo di eccentricità norvegesi.

- Ondarock (IT)


Written about Meander:

The debut album of Norwegian guitarist Jo David Meyer Lysne (born in 1994), together with double bass player and teacher-mentor Mats Eilertsen, is about the infinite timbres of wooden instruments. At the same time «Meander» is inspired by the mountainous Nordic landscape surrounding Filefjell, in the southern-western part of Norway. The quiet, acoustic compositions of «Meander» were first conceived at Meyer Lysne’s grandfather’s cabin in this beautiful region, located between two flowing rivers. Later «Meander» was captured in Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug on June 2017.

Meyer Lysne has fond memories from Filefjell, where his grandfather shared his building skills with the young Meyer Lysne at his remote cabin. Meyer Lysne has used the cabin as well as the building-rebuilding processes to explore and generate new tunings and timbres from the guitar that later transformed into his compositions. «I’m searching for ways to make an illusion of the sound of the guitar that is bigger than it is, or that it might sound like a totally different instrument», he says.

The collaboration with Eilertsen has developed organically over the last year. Meyer Lysne and Eilertsen played a duo concert last spring, and in last October recorded one of Meyer Lysne songs and a free improvisation at the Rainbow Studio. Then Lysne Meyer wrote more songs and the «Meander» was recorded in one day at the Rainbow Studio. Half the pieces – «Sluten», where Meyer Lysne’s grandfather’s cabin is located, the title-piece, «Svømmer Over», «Duolian» and «Meso» follow lyrical, melodic veins that may be associated with traditional duos of this format. These pieces have clear, story-like structure. Other pieces offer concise but highly nuanced, cinematic soundscapes, but with a unique, enigmatic dramaturgical structure. «Åpning» even introduces some mysterious, far-Eastern colors and timbres. Together, these pieces suggest an emotional and colorful story about a mysterious and an inspiring region.

Eyal Hareuveni, Salt Peanuts


Evoking notions of reflective exploration, peaceful splendour, and the easing of formally delineated structures, Meander would seem to be an especially apt title choice for this debut album by Oslo-based guitarist Jo David Meyer Lysne in collaboration with double bassist Mats Eilertsen, one of Norway's most highly regarded players. The beauty of the Nordic landscapes is conveyed by acoustic settings that pleasingly accentuate the interplay between the two. Issued on the Trondheim-based label Øra Fonogram, the release is a mini-album at thirty minutes, though no less satisfying for being so.

On this non-electric date, Meyer Lysne is credited with acoustic guitars, twelve-string acoustic guitar, and effects, and composed five of the eleven settings and co-wrote the others. One of his goals is to find new timbres for the guitar and to that end uses effects to maximize its potential as a vehicle for atmospheric soundscaping. Textures are more abundant than riffs on this recording, even if a clearly defined melody arises on occasion to give a particular piece definition.

One of the more pleasing things about the release is that the two interact as equals as opposed to one adopting a secondary role in support of the other. Melodic settings alternate with explorations of a comparatively more experimental nature, and while stylistically folk predominates classical tonalities emerge in a number of instances (e.g., “Duolian”). At the outset, Eilertsen's upper register harmonics align with the guitarist's atmospheric effects to lend “Intro” an ethereal character; “Åpning” later conjures mood in a slightly spookier manner by weaving ghostly sounds in amongst its mystical strums and softly rumbling clangour.

In keeping with its title, “Svømmer Over” exudes a touching nostalgic quality, whereas Meyer Lysne's acoustic picking imbues “Sluten” with a pastoral-folk quality, Eilertsen initially augmenting his partner's playing with bowing and then doubling him on unison statements. Even more peaceful is the lilting title track, which the two perform with a languor that's as inviting as a cabin's fireplace on a chilly winter evening. Here and elsewhere, the absence of a drummer allows the duo's expressions to, yes, meander but in the most pleasing manner.

No better choice of partner than Eilertsen could have been made by the guitarist for his debut album. With more than 100 recordings under his belt, the bassist plays with authority and taste, and is the kind of musician whose note choices are unerring and sense of time is impeccable. Every recording, it seems, on which he appears is bettered by his involvement, and this date with Meyer Lysne, which, despite its brevity, covers ample ground, is no exception.

Textura (CAN)


Wat een bijzonder album is Meander van de jonge gitarist Jo David Meyer Lynse en jazzlegende bassist Mats Eilersten. Het album is hun ode aan Filefjell, een bergachtig natuurgebied in het zuidwesten van Noorwegen, het land waar beider oorsprong ligt.

Het blijft toch een prachtig mirakel dat zoveel Scandinavische gitaristen niet alleen een briljante techniek en en melodische gave hebben maar tevens zo verdomd goed met hun effecten weten om te gaan om hun spel nog meer kleur en emotie mee te geven. De nog maar 23-jarige Jo David Meyer Lynse is een reusachtig talent dat met zijn spel de 42-jarige Mats Eilersten (de man die reeds op zovele belangwekkende jazzalbums te horen was) volop inspireerde om een samenwerking aan te gaan. Ze speelden voor het eerst een duoconcert in de lente van 2016. De die samenwerking beviel zo goed dat ze een paar maanden later in de Rainbow Studios in Oslo een vrije improvisatie opnamen.

De kracht van de samenwerking werd toen helemaal duidelijk en Meyer Lynse dook het huisje van zijn grootvader in de bergen van Filefjell in om nog meer composities te schrijven. Betoverd door het landschap kwamen die composities als vanzelf tot stand en in juni 2017 doken Meyer Linse en Eilertsen opnieuw de Rainbow studios in, nu om een geheel album op te nemen: Meander.

Meander brengt muziek die volledig in sfeer ligt met de beelden die je van het natuurgoed van Filefjell hebt, voor zover je het gebied nog niet met eigen ogen hebt gezien. Het album kent een mooie opzet in composities. Sluten, de titeltrack, Svømmer Over, Duolian en Meso zijn compositorisch omlijnde stukken die in duo opzet een prachtige vorm vinden. Prachtig spel, volmaakt samenspel.

De rest van de composities op het album kennen een losse, avontuurlijker opzet. Filmisch, mysterieus en in sfeer fascinerend aansluitend op de ingetogen andere stukken op het album. Meyer Linse is op zijn jonge leeftijd al een meester op de gitaar die zowel met zijn prachtige akoestische als met zijn elektrische spel vol effecten vele emoties weet op te roepen. Eilertsen weet steeds weer op de juist momenten bij te vallen met uitgebalanceerde tonen om de stukken nog meer sfeer mee te geven.

Meander is een prachtig album en de samenwerking tussen Jo David Meyer Lynse en Mats Eilersten een uiterst intrigerende. (NB. Wat een talent die Jo David Meyer Lynse! Hij speelt op Meander niet alleen alle gitaren, maar schreef ook alle composities en produceerde het album ook nog eens. 23 jaar hè?)

Dick Hovenga, Written in Music (NL)


Released in December 2017 “Meander” is an intriguing series of duets featuring the young Norwegian guitarist Jo David Meyer Lysne (born 1994) and the more experienced bassist Mats Eilertsen (born 1975).

Lysne is also a member of the electro-improvising duo Wendra Hill, alongside the bassist and cellist Joel Ring. The pair self released their début album “Stretch, Flex, Draw” earlier in 2017.

The guitarist has also worked as a sideman with the sound and visual artist Jenny Berger Myhre and appears on her 2017 album “Lint”.

Lysne studied at Sund Folk College and at the Norwegian Academy of Music before becoming a professional musician. He is currently a busy presence on the still burgeoning Norwegian jazz scene.

By comparison to the young guitarist Eilertsen is a relative veteran, appearing many times on the Jazzmann web pages leading his own groups on albums such as the 2014 trio recording “Sails Set” and the excellent quartet offering “Skydive” (2012). He is also well known as a member of groups led by pianists Tord Gustavsen and Alexi Tuomarila and by kantele player and vocalist Sinikka Langeland.. Eilertsen was also a member of the original quartet version of Food featuring drummer Thomas Stronen, trumpeter Arve Henriksen and the English saxophonist Iain Ballamy.

Lysne is interested in creating new timbres for the guitar and regularly experiments with both electronics and prepared guitar techniques, often rebuilding his instruments. Yet at the heart of Lysne’s experimentations lies an old fashioned love of woodworking, something learned from his grandfather, a skilled builder and woodworker. “I’m searching for ways to make an illusion that the sound of the guitar is bigger than it is, or that it might sound like a totally different instrument” Lysne has explained.

“Meander” was recorded at the world famous Rainbow Studio in Oslo with the great Jan Erik Kongshaug, a veteran of countless ECM recording sessions, at the engineering desk. However much of the music was inspired by the rural landscape around Sluten in the Filefjell region of Norway where Lysne’s grandfather built the family’s cabin.

The eleven short pieces that make up “Meander” are performed on essentially acoustic instruments although both musicians bring a degree of electronic enhancement to the arrangements.  Lysne plays both six and twelve string acoustic guitars and Eilertsen double bass. Five pieces are credited solely to Lysne suggesting that they were pre-composed with much of the writing taking place at Sluten. The others are credited jointly, implying that they were freely improvised in the studio.

Much of the music is straightforwardly beautiful but there is also a more experimental current running through the music, the two elements combining to express both the beauty and the darkness of the Norwegian landscape.

Appropriately the album commences with the joint composition “Intro”, the eerie shimmers conjuring up images of the chilly beauty of a starlit Nordic night. It’s an impressionistic but beautiful piece with both musicians bringing their range of “effects” to the table. Eilertsen is almost certainly using a bow while Lysne realises his dream of making the guitar sound like “a totally different instrument”.

Lysne’s “Sluten”, arguably the piece that kick started the whole project, introduces a more conventional acoustic sound with Myrhe on cleanly picked guitar while Eilertsen flourishes the bow to create a warm, cello like sound on double bass. The older man also plays pizzicato, his tone rich and woody.

A second pre-composed Lysne tune, “Meander” itself, is an achingly beautiful duet for acoustic guitar and pizzicato double bass that sees Eilertsen assuming the lead in places. There’s a warmth and spaciousness about the music that recalls the duets between guitarist and ECM recording artist Ralph Towner and former Oregon bassist Glen Moore.

The jointly credited “Steinkast” brings the duo’s two approaches together with Lysne continuing to deploy a conventional acoustic guitar sound while Eilertsen fulfils a freer, more experimental role on bowed bass, his, atmospheric nuanced contributions adding commentary and punctuation to this fascinating miniature.

Also jointly credited “Apning” returns the duo to the same kind of experimental sonic landscape as the album opener. Here colour, texture, nuance and atmosphere is more important than melody but the duo’s spacey, ethereal abstraction has a beauty of its own and a pictorial quality redolent of both dark forests and deep space.

The piece segues into the shorter “Pil” , another improvised piece featuring the lonely sound of Eilertsen’s plucked bass above the almost subliminal shimmer of Lysne’s guitar effects.

Lysne’s “Summer Over” re-introduces a more conventional song like structure and is a beautiful acoustic guitar and double bass duet with a folkish quality about the melody. If one wasn’t aware of the identity of the musicians one might almost think it was a piece of Bill Frisell Americana. I’ve yet to hear Frisell’s ongoing duo with bassist Thomas Morgan but suspect that it may sound somewhat similar.

Also pre-composed the beautiful “Duolian” initially acts as a showcase for Eilertsen’s beautiful arco playing, his bow again generating a warm, melancholic cello like sound. Later he demonstrates his pizzicato skills, his dexterous but deeply resonant playing no less effective in this context. Meanwhile Lysne’s sensitive, arpeggiated chording acts as the anchor that holds the piece together.

The brief “Digg Dyne” is an improvised duet lasting a little over a minute, led by Eilertsen’s plucked bass and with Lysne adding feathery, spidery guitar effects.

Lysne’s “Meso” represents the final pre-composed piece with Lysne’s attractive guitar melodies shadowed by Eilertsen’s plucked bass and with a soupçon of FX adding to an atmosphere that is again vaguely reminiscent of Frisell, or maybe Pat Metheny’s “New Chautauqua” album.

The recording concludes with the jointly improvised “Uro”, which bookends the album neatly with its richly atmospheric soundscapes involving the use of what sounds like looping techniques.

At around half an hour in length “Meander” is short by the standards of the modern album yet in this exposed format it feels just right. None of the pieces exceeds four and a half minutes and by keeping things concise the duo ensure that no idea is allowed to overstay its welcome, even when the pair are at their most experimental.

I’ve read that Lysne is a former pupil of Eilertsen’s but this is very much a meeting of equals with Lysne the principal compositional voice. There’s an easy chemistry between the pair and the duo communicate effectively throughout - and although each musician enjoys moments in the spotlight there’s never any sense of any competitiveness between them. Both serve the music faithfully and its easy to see why Eilertsen has appeared on over a hundred recordings as leader, co-leader or sideman.

These are genuine musical conversations and there’s an intimate, relaxed quality about them that is very appealing, even when the duo are at their most experimental. The sequencing of the album   varies and mixes the two approaches well and one can imagine these vignettes, charming and atmospheric by turns, featuring effectively on BBC Radio 3’s “Late Junction” programme.

With its subtle mix of folk melody, jazz improvisation and electronic effects “Meander” won’t appeal to everybody’s ears but fans of Late Junction, ECM and Nordic jazz in general should find much to enjoy in these well crafted, supremely played duets. There’s great beauty here, but also a quiet experimental edge that helps the music to transcend mere ‘prettiness’. Aged only twenty three Lysne is already creating an individual style for himself and looks to be a name to watch out for in the future.

Ian Mann, The Jazzman


Wie immer schafft es Jan Erik Kongshaug auch hier, mich zu begeistern. So, wie dieses norwegische Tonmeister-Genie auch allerfeinste Nuancen der Klänge im Studio einfängt und sie auf Tonträger bannt, das ist schon unglaublich. Dabei ist es - so wie bei „Meander" - eine exzellent ausbalancierte Verarbeitung von dynamischen Passagen und feinsinnigen Nuancen. Kurzum, das Debüt des norwegischen Duos Jo David Meyer Lysne (geb. 1994) & Mats Eilertsen (geb. 1975) ist ein Genuss für Vinyl-Gourmets!

„Meander" ist kein Album von der Stange. Es lässt sich in keine Schublade stecken, auch wenn man vielleicht grob den Jazz als Überschrift verwenden kann. Improvisierte Musik wäre eine weitere Assoziation, doch auch das ist nur ein Weg dafür, was diese Kompositionen der beiden Skandinavier beschreiben. Für mich ist es eher eine bildhafte Umsetzung norwegischer Landschaften, genauer gesagt in diesem Fall „Sluten" am Filefjell.

So wie die extremen nordischen Landschaften sich zwischen Bergen und Tälern, Flüssen und Wäldern abwechseln und dabei sich gegenseitig in ihrer Schönheit überbieten, so haben die beiden Musiker ihren Instrumenten aussergewöhnliche Klänge entlockt. Meist von freien Improvisationen geprägt, entstand ein Wechselspiel von ruhigen Passagen mit warmen Tönen zu exzentrisch anmutenden, flirrenden Klang-Skulpturen.

Bereits das „Intro" fordert den Zuhörer mit schrägen, kalten Klängen, zu denen das folgende akustische Stück „Sluten" im Kontrast steht. Diese warm tönende Nummer entführt uns bereits gedanklich an einen Fluss, der entspannt an uns vorbeifliesst. Hier wird gleich mal deutlich, wie genial diese Aufnahme eingefangen wurde. Die Saiten der Gitarre scheinen uns ebenso entgegenspringen zu wollen wie der genüßlich gezupfte Bass - Realismus pur! Mit dem Titelsong „Meander" folgt eine ebenso schöne Melodie, die vor dem geistigen Auge eine Landschaft entstehen lässt. Geheimnisvoller ist dann schon „Steinkast" und mehr noch das anschließende, avantgardistische „Åpning", bei dem wuchtige Bass-Tiefen die dynamischen Eigenschaften der heimische Hifi-Anlage testen!

Jo David Meyer Lysne schreibt, dass er im Keller der Hütte seines Großvaters immer mit Holz zu tun hatte und noch heute nach Möglichkeiten sucht, mit Umbauten seiner Gitarre neue Klänge zu erreichen. So entdeckt man auf „Meander" tatsächlich immer wieder eigenwillige Töne, die gänzlich andere Illusionen erzeugen, bei denen man an alles andere denken mag als an eine Gitarre. Natürlich bauten die Beiden auch Effekte ein, neben dem erwähnten „Åpning" ist auch das letzte, sehr mystische Stück „Uro" ein dafür entsprechendes Beispiel.

Damit endet eine Schallplatte, die dem Vinyl-Liebhaber auf verschiedenste Weise ein beeindruckendes Hörerlebnis vermittelt. Die Dramaturgien in diesen Kompositionen und deren akustische Umsetzung ist mitunter atemberaubend und zugleich wunderschön. Zwischen den Lautsprechern entstehen Bilder, welche die Natur Norwegens in ihren bemerkenswerten Kontrasten darstellen. Alleine dafür darf man Jo David Meyer Lysne & Mats Eilertsen danken, ebenso Jan Erik Kongshaug, der diese tolle Musik akustisch perfekt in Szene gesetzt hat.

VinylFan (DE)


Norwegian guitarist Jo David Meyer Lysne and double bassist Mats Eilertsenmake their debut as a duo here. Meyer Lysne is a young player with a very individual approach to the acoustic guitar; Eilertsen is a veteran with over a hundred recordings on his resume, experience that really helps to bring Meyer Lysne's concepts into focus. This is an acoustic project at its core, but both performers also employ electronic effects to expand the possibilities of their instruments. Recording and mixing by Jan Erik Kongshaug at Rainbow Studio (home of so many beautiful ECM recordings) gives the results the perfect presentation.

The opening track "Intro" gives notice that this will not be a standard acoustic date. A collective composition, it is very atmospheric, almost an electronic study. "Sluten" (the first of the Meyer Lysne compositions) begins with his unmodified acoustic guitar, a contrast that establishes the range of the album. The title tune is also guitar oriented, with a folkish, Americana tone.

"Åpning" employs 12-string guitar with cathedral reverb; Eilertsen plays high harmonics (as he does many times during the album), subverting the bass role into high lead voice instead of low accompaniment. "Svømmer Over" is a waltz, and a straightforward, lyrical acoustic duet. "Duolian" is another beautiful Meyer Lysne piece, which gives Eilertsen space for an extended bass solo. During "Meso" he switches between conventional accompaniment and high atmospherics. Closer "Uro" is an atmospheric electronic bookend to the opening track.

Meander could be described as a series of miniatures. Only one track exceeds the four minute mark, and the entire album is only 30 minutes long. But it is a rich, full listening experience. It has a gem-like focus that belies its title.

Mark Sullivan, All About Jazz (US)


The idea of a guitar and bass duo recording might feel a bit limiting, but here is creates a pleasingly rich atmosphere.  The pieces were composed by Meyer-Lysne is response to the landscape around Sluten, Norway, and carry with them a calm, meditative, tranquil mood.  Many of the pieces have a strongly folk-inflected melody, both in terms of the way that the piece is structured and the way that Meyer-Lysne plays acoustic guitar.  The bass playing gives the pieces a sense of dynamism, and in places it feels as if the composed guitar lines are accompanied by an improvised double bass line.

The mix of the composed and improvised is nicely illustrated by the opening track, ‘Intro’, in which a tremulous arco bass line is combined with a swirl of electronic effects and the theme gradually emerges from this background. The whole effect is rather like an aural equivalent of a sunrise over the fjord.  Following this, ‘Sluten’, has a tentative acoustic guitar line (complete with the scrape of fingers on strings) and a sonorous bass line.  This movement between the lower and higher register of the bass, and the different ways in which the guitar (and effects) creates a broad tonal palette, sometimes making each instrument sound like something completely different.

Chris Baber, Jazzviews


Den ser ikke ut til å ha noen ende denne strømmen av nye jazztalenter her til lands og hyggelig er det. Eilertsen (43) begynner jo å nærme seg veteranstadiet mens den 24 år gamle bergenseren Meyer Lysne så vidt er i gang med noe som tyder på kan bli ei strålende karriere.

Samla rundt Meyer Lysnes akustiske gitarer, med både seks og tolv strenger, og Eilertsens store fele – i tillegg til at begge benytter ymse effekter på en ytterst smakfull måte, tar de to for seg elleve låter som enten er skrevet av Meyer Lysne eller begge i samarbeid.

For mitt sanseapparat er det veldig mye natur i musikken. Den er vakker, den er dvelende, den er melodisk, den er luftig og den er hele tida søkende. Det er absolutt ingen tvil om at de to har "funnet" hverandre til tross for en viss aldersforskjell – denne drøye halvtimen er så tidløs og så sjangersprengende at de aller fleste grenser viskes ut.

Sjøl om musikken på "Meander" låter noe helt for seg sjøl, så tar jeg meg i å tenke på den guddommelige duoen Charlie Haden og Pat Metheny ga verden rundt årtusenskiftet. Det er nemlig mye av den samme empatien og måten å utfordre og leike med hverandre som gjennomsyrer dette møtet også.

Dette er mitt aller første møte med Jo David Meyer Lysne. Han forteller oss umiddelbart at han har mye både personlig og vakkert på hjertet og at det skal bli veldig spennende å følge han i åra som kommer. Mats Eilertsen er allerede en bauta og bekrefter nok en gang at han hører hjemme helt der oppe.

- Tor Hammerø