Dream Interruption

by SINDRE BJERGA

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1.

about

also available as CD-R (lt.ed. 50 copies)

Recorded live @ The Y Gallery, Tartu, Estonia, June 26th, 2015.
sindrebjerga.wordpress.com
photography and design by EMERGE

credits

released May 13, 2016

On an extensive tour of the Baltic, Norwegian electro-acoustic improv artist Sindre Bjerga recorded this half-hour album that covers a lot of ground in a comparatively short span of time. Starting with Sindre’s trademark amplified metal objects, it turns into a massive drone noise behemoth in the end.

If the small, distant sounds of the first half of the set represent the shadowy realm of dreams, then the gradually rising drone of what sounds like bomber planes overhead does indeed come as an interruption, a menacing presence that forces the sleeper to wake up … and perhaps run for cover. A visceral, quasi-narrative instant composition that translates well into the recorded format.

File under: drone, electroacoustic improvisation

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VITAL WEEKLY

The only release not to include Emerge is by Norway's Sindre Bjerga, of whom I recently witnessed 8 concerts in a row, each with slight variations; it was almost as if he performs a fixed composition every night. This recording was made last year when he toured the Baltic States and upon playing 'Dream Interruption' I am thinking this is another execution of the same piece. Bjerga uses a microphone, some cassette recordings, Dictaphones, small cymbals and a metal object with spring to come up with something that sounds like an outsider piece; something that is covered in the world dreams (as suggested by the title) but could easily be having a place in mental illness or some kind of disturbed life. Things can go wrong here, objects are trashed around, but carefully placed acoustic sounds play an important role. Towards the end Bjerga cooks up a drone, a rather violent one actually, of disturbed transmissions from the other side. Very consistent in it's execution, every time with another variation.
(FdW)

www.vitalweekly.net/1027.html

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UNRUHR / BLACK

was hören wir? etwas wie eine heimliche aufzeichnung, das akustische abbild von einer so kaum identifizierbaren situation im leben eines menschen(?)?

unidentifizierbare, wie gequälte laute, dazu das aneinanderschlagen von... kugeln(?). so der auftakt dieser möglicherweise vollständig auf fieldrecordings basierenden vö.
wer wird akustisch beobachtet? was bedeuten die wie funksprüche eingehenden meldungen? und das, was gegen ende wie eine distortionfläche ohnedie hohen frequenzen klingt, ist das vielleicht doch ein motor? eine säge; was auch immer?
spannende fieldrecordings sind mindestens genau so schwer zu machen wie spannende musik; „dream interruption“ ist ein beispiel wie es gehen kann!

schöne grüße

N

www.unruhr.de/musik/rezensionen/4194-sindre-bjerga
www.blackmagazin.com?p=19175

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BAD ALCHEMY

Den umtriebigen SINDRE BJERGA hören wir auf Dream Interruption (ACK 1008, CD-R) live im estnischen Tartu. Der Norweger bereichert seit 20 Jahren die Sound Culture mit seinen Prayer Calls und Songs of Failure, seiner nonfigurativen Musikk, seinen abklingenden und zerfallenden Frequenzen. Die träumerische Suggestion hier inszenierte er mit granularen Geräuschen und Singsang wie in Trance, aber auch mit (un­freiwillig?) komischem Mickymousing. Ohne Bild bleibt unklar, ob er da nur mit Wasser kocht, mit dem Feuer spielt, mit Metall, Holz und Stein hantiert. Aber gerade dieses Im-Dunkeln-Munkeln hält das Unheimliche mitsamt dem spielerisch Spaßigen in der Schwebe. Ein Bogenstrich, Walkytalkyge­murmel, Feedbackblasen und immerzu dieses schrottig per­kussive Rumoren. Über das sich plötzlich ein grolliges Dröhnen erhebt, wieder abreißt und erneut anschwillt, wobei die bedrohliche Anmutung eines Bombergeschwaders nur erregtes Geschnatter in Entenhausen zur Folge hat. Das Gedröhn nimmt noch zu, das Kriegerische verschwimmt jedoch im basslastigen Dunkel doomiger und noisiger Register. Das Finale wird jedoch gestaltet von knarzigem Jaulen wie mit einem furzeligen Theremin. Einen Extrapluspunkt vergebe ich auch an die Fotokunst von Emerge, die die ACK-Reihe visuell verbindet.
[BA 90 rbd]

www.badalchemy.de

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CHAIN D.L.K.

Sindre Bjerga is an electroacoustic improvisation who works mainly with cassette players and amplified objects and his style is something closer to drone rather than to the destructured language of EAI. This release from Sindre Bjerga is an improvisation recorded during a tour of the Baltic which would represent an awakening from a dream.
Quiet noises and metallic sounds opens this release under a field recording background and, when the voices, mostly distorted by the slowing down of the tape, enter the scene there's the apex of the first part of this release. The second one is a quiet and meditative part based on quiet and isolated sounds while the third part is a drone that seems to enhance the noises which were the background of the part.
With a solid narrative: the falling asleep of the first part, the dream of the second and the rude awakening of the third, this release is a good example of how improvisation is not a casual juxtaposition of sound but is a movement with and end. It's worth a listen.

www.chaindlk.com/reviews/?id=9232

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DEAD FREQUENCIES

I simply love when release goes hand in hand with the cover artwork and packaging. It gives complete picture of what an artist had on his mind when he planned to record a release. That’s the case with Bjerga’s ”Dream Interruption”, impressive musique concrete composition where Sascha from Emerge used his skills and worked on a cover art and the final product is more than beautiful. It simply reflects all the darkness of the Bjerga’s work.

”Dream Interruption” actually really sounds like a dream interrupption, filled with dark motives, haunted echoes and disturbing sound movements. It would perfectly suit as a background for a B production horror movies when some girl is heading through the old factory, surrounded by creatures who are waiting for a moment to grab her. Also, there’s a lot of sounds similiar to punches, so as I can assume, contact microphones worked pretty well for this piece of art. Elements of ambient, industrial and noise are also involved, especially on the second half of the track, so there’s a piece of the pie for the lovers of all avantgarde genres.

I really hope that this one will satisfy even the pickiest fans of musique concrete, because it deserves all the attention of the undreground avantgarde community. It possess all the quality and it can pair with the bigger names in this genre.

deadfrequencies.wordpress.com

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