If you have read more of the reviews I’ve written in the past, you might have picked up one or more occasions about my love for wind instruments. Which – I’ll spoil the surprise if you haven’t – is non-existent. It might be added to my collection if it’s unrecognizable and treated or manipulated into something completely different. So, reading about the second part of ‘IT DEEL’, which is an ongoing project by Romke and Jan Kleefstra with additional musicians, the additional musicians being Eivind Lønning and Espen Reinertsen playing trumpet, saxophone and electronics … I was frightened. As I also reviewed the first part (Vital 1350), where the collaboration was with Michał Jacaszek, who played string arrangements, well, it was already a given fact I was to write about this one too.
Eivind Lønning and Espen Reinertsen are two new names for me, as is their project, Streifenjunko. The Kleefstra’s they met in Worm, Rotterdam, and it was from then on a wish from Romke and Jan to at some point work with them. The combination of improvisation, jazz, sound art, field recordings, electro-acoustics and poetry/ spoken word in the Frysian language is here presented on another vinyl. If you have and like the first one, there should be no hesitation in ordering this one, too. Because the ongoing development is something collection-worthy.
Eivind and Espen brought field recordings from the Norwegian woods to the St. Thomas church in Katlijk. During these recordings, the Norwegian Woods found friendship with the Frysian woods, At least with their field recordings. The musicians worked with this friendship and made “IT DEEL II” a release contemplating how humanity treats its environment, nature and, more specifically, its (local) forests. The voice of Jan gives the whole contemplative character a somewhat fatalistic charge because, yes: Things have to change. A solemn plea as performed in a church. It’s not a sermon, but it’s close…
And the wind instruments? I was scared way too much to begin with. I could perfectly handle it. After all, it’s the wind that also makes the woods sound. And that aspect was way more pronounced in the composition than any other (regular) use of a wind instrument.
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