Normally, I avoid quoting press releases directly, but this description of the intimate and multifaceted Confluencia is hard not to echo. On this album, the Danish guitarist and experimentalist has assembled a small ensemble of musicians from the borderlands between neoclassicism and jazz. The real stars of the record are pianist Simon Toldam and – especially – Susana Santos Silva, whose trumpet bleats, breathes, and scrapes against the ear. She toots in ways rarely heard in postmodern experimentalism.
Confluencia seeks to reflect modern communication – a kind of communication that ought to transcend boundaries of race, gender, and other dividing forces – through instrumental music. A form that seems to be fading day by day in a haze of misinformation, miscommunication, and mistrust. Toldam’s piano leans toward eerie dissonance, while Solborg’s guitar adds a tender, almost vulnerable tone – especially on »Southern Swag«. The music is at its strongest when the instruments converge in conversation and unison moments, such as in the strange funeral ballad »Planes«, which teeters on the edge of collapse with ghostly piano figures and diabolical chimes.
Confluencia moves between jazz, folk, ambient, and avant-garde – with a chamber-like intimacy that insists on intensity, melancholy, and reflection. What makes the album truly powerful is precisely what many experimental releases lack: space for contemplation and dialogue with the listener. Tungemål dares to be experimental without overpowering itself – and paints with a broad emotional brush, where tragedy is always lurking on the horizon.
English translation: Andreo Michaelo Mielczarek