(Tomas Hallonsten with Johan and Andreas Berthling)
seductive, minimal, slow-motion and drum-less soundscapes
Opera (2002) for computer, synthesizer, field recordings and acoustic instruments (guitar, harmonium, melodica, harmonica, zither, piano, flute, accordion, trumpet and percussion)
The acoustic guitar is the dominant voice, as if John Fahey had been catapulted
into an electroacoustic chamber concenrto.
the ambient side of post-rock's nonlinear, abstract, unstructured equation
rural and pastoral instead of urban and neurotic (as most post-rock was)
While basically subscribing to the same logic, Milieu (2003) felt
somewhat constrained and restrained. A collection of much shorter pieces, it
was again scored for field recordings and electronics and acoustic instruments,
but the guitar was less prominent in its leading narrative role and the
"orchestra" was quite limited (banjo, harmonium, trumpet).
The trio reached their formal zenith with Rideau (2005),
whose pieces explored the ambient side of post-rock's nonlinear, abstract, unstructured equation; rural and pastoral instead of urban and neurotic (as most post-rock was).
Birds Of A Feather (2007) was a collaboration with Minamo.
Revelationes (Hapna, 2011)
were collections of brief vignettes.
Johan Berthling's My Days Are Darker Than Your Nights was a collaboration with Oren Ambarchi.
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