Johannes Bergmark;
Bergmarkoktetten (Bergmark Octet)


Johannes Bergmark at the Jibbolii Festival 2003


Johannes Bergmark
Bergmark-oktetten (The Bergmark Octet)
(2000) (10:18)
Private Edition


As inconspicuously as it begins, as dramatically it eventually unfolds, given some degree of creative fantasy on the part of the listener.
A calm hum at left, joined by small, unidentifiable squeaks and whines and some prickly, licking, saliva dripping mouthfuls (or mud fills)– and
the Bergmark Octet is picking up intensity and density.
Small, smelly, cautious vocalisms out of Henri Chopin-like oral cavities work their way forward together with the tinkling of milk buckets of old and little elves’ violins from behind the ant mound in the shade just the other side of the ice-clamp (before the emergence of fridges…)

This massive, yet peculiarly transparent (if you can listen fast enough!) sound surge appears to me like a mudflow of sounds, rocks and twigs of sound sticking out of the massive weight of slowly and irresistibly sliding sound flow, picking up new sounds as it flows heavily downwards in the holy grip of gravity. Whole chicken-sheds are caught in the flow and rolled up into the moving mass of audio like a rural Swedish old-time taco of backwoods experiences! This is Rabelais and his farting friends in a Mid-Swedish guise, you bet you!
I get a vision of an unshapely, giant ball of audio matter moving relentlessly, out of which stick bird beaks, feathery wings, pots and car parts, old radios and furniture from long-forgotten country auctions; yes, the whole shipload of local Western Civilization residue; the auditive imprints of a whole culture of old hicks and farmers’ wives and a Sweden which is sinking just below the horizon of conscious memory as the old-timers fade away into Bardos and Rebirths; Bergmark’s
Octet sound flow providing one possible homage to the passing…
Absolutely magnificent!


Bergmark explains a little about his Bergmark Octet below, but with the added live player, making it the Bergmark Nonet:


What I mostly do, in musical terms, is to play in improvised groups on a number of different instruments, many of them my own constructions. Of course, I usually only play one instrument at a time. I have been curious about what a group playing all my favourite instruments would sound like. This is an attempt to do that. The virtual "Bergmark Nonet" consists of eight recorded and one live musician playing:

1. The Micro Moog analog synthesizer modified with radios, voice, feedback and a fuzz box.

2. The Blowfish - a construction of toy wind instruments and other wind sound tools - and voice.

3. The Finger Violin, a contact-mike-amplified instrument where the strings are attached on the finger tips, without fingering board.

4. A Sandviken Stradivarius musical saw and Pikaterä Speliplari (Playblade).

5. The Metal Harp which consists of triangular metal sheet around a tube.

6. The Clavinet, partly played directly on the strings.

7. The Whalefish, an amplified "one-man-band"-type construction played with different tools.

8. The Micro Moog, another take.

9. The Whalefish played live.




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