Hampus Lindwall: Brace For Impact (Ideologic Organ)
Five riveting organ pieces from Hampus Lindwall via Ideologic Organ.
As the notes indicate, pipe organ is experiencing a real moment here in the 21st century and as the organist at Saint-Esprit, Paris (a position made famous by Jeanne Demessieux who occupied that seat from 1933-1962) Lindwall is in dialogue with many voices: past, present and future.
This recording was made on a 78-stop grand organ housed at St. Antonius church in Düsseldorf, Germany. Featuring the electric guitar of Stephen O’Malley on the title track, the five works gathered here position the ancient instrument in dialogue with the historical avant-garde [Duchamp] and more contemporary digital “network” musings.
The one sheet describes the album’s opening this way, “inspired by the searing glissando that opens the Greek musician’s seminal (1953–4) work Metastaseis, the piece pairs a series of rip-roaring slides on a highly saturated and distorted electric guitar (performed by … Stephen O’Malley) with the halting attempt of Lindwall’s instrument to follow it […]. It’s an electrifying piece of music, slapping the listener round the face straight out of the gate at the start of the record. But it’s also a deft study on the uneasy relation between analogue curves and digital steps.”
In the 1990s, as the Stockholm club scene started taking off, Lindwall found himself moving in the same circles as the electronic music artists connected to the city’s legendary Cheiron studios. The aesthetics of 90s rave remains an important part of his musical DNA to this day.
Born in the Swedish capital in 1976, Lindwall learned his chops copying the solos on Steve Vai records. It was only later, towards the end of his teens, that he even started playing keyboard instruments. When seeking to enter Stockholm’s prestigious Royal College of Music, Lindwall tendered two applications: to the jazz department, as a guitarist, and to the classical music department, as an organist. He was sure he would be accepted with the guitar. In the end, he was rejected from the jazz department for spurious reasons, inadvertently setting Lindwall on a path to becoming a classical organist .
Lindwall has collaborated with and or performed with many established and emerging artists, including: Cory Arcangel, Tarek Atoui, Noriko Baba, John Duncan [!!], Mark Fell [!!!!], Mauro Lanza, Jesper Nordin, Studio For Propositional Cinema, Emily Sundblad, among others.
Now a professor of improvisation at the Institut Supérieur de Musique et de Pédagogie Royal (IMEP) à Namur, and the artistic director of Les Inspirations Visibles, Lindwall appears to be quite busy.
Five riveting organ pieces from Hampus Lindwall via Ideologic Organ.
As the notes indicate, pipe organ is experiencing a real moment here in the 21st century and as the organist at Saint-Esprit, Paris (a position made famous by Jeanne Demessieux who occupied that seat from 1933-1962) Lindwall is in dialogue with many voices: past, present and future.
This recording was made on a 78-stop grand organ housed at St. Antonius church in Düsseldorf, Germany. Featuring the electric guitar of Stephen O’Malley on the title track, the five works gathered here position the ancient instrument in dialogue with the historical avant-garde [Duchamp] and more contemporary digital “network” musings.
The one sheet describes the album’s opening this way, “inspired by the searing glissando that opens the Greek musician’s seminal (1953–4) work Metastaseis, the piece pairs a series of rip-roaring slides on a highly saturated and distorted electric guitar (performed by … Stephen O’Malley) with the halting attempt of Lindwall’s instrument to follow it […]. It’s an electrifying piece of music, slapping the listener round the face straight out of the gate at the start of the record. But it’s also a deft study on the uneasy relation between analogue curves and digital steps.”
In the 1990s, as the Stockholm club scene started taking off, Lindwall found himself moving in the same circles as the electronic music artists connected to the city’s legendary Cheiron studios. The aesthetics of 90s rave remains an important part of his musical DNA to this day.
Born in the Swedish capital in 1976, Lindwall learned his chops copying the solos on Steve Vai records. It was only later, towards the end of his teens, that he even started playing keyboard instruments. When seeking to enter Stockholm’s prestigious Royal College of Music, Lindwall tendered two applications: to the jazz department, as a guitarist, and to the classical music department, as an organist. He was sure he would be accepted with the guitar. In the end, he was rejected from the jazz department for spurious reasons, inadvertently setting Lindwall on a path to becoming a classical organist .
Lindwall has collaborated with and or performed with many established and emerging artists, including: Cory Arcangel, Tarek Atoui, Noriko Baba, John Duncan [!!], Mark Fell [!!!!], Mauro Lanza, Jesper Nordin, Studio For Propositional Cinema, Emily Sundblad, among others.
Now a professor of improvisation at the Institut Supérieur de Musique et de Pédagogie Royal (IMEP) à Namur, and the artistic director of Les Inspirations Visibles, Lindwall appears to be quite busy.
Five riveting organ pieces from Hampus Lindwall via Ideologic Organ.
As the notes indicate, pipe organ is experiencing a real moment here in the 21st century and as the organist at Saint-Esprit, Paris (a position made famous by Jeanne Demessieux who occupied that seat from 1933-1962) Lindwall is in dialogue with many voices: past, present and future.
This recording was made on a 78-stop grand organ housed at St. Antonius church in Düsseldorf, Germany. Featuring the electric guitar of Stephen O’Malley on the title track, the five works gathered here position the ancient instrument in dialogue with the historical avant-garde [Duchamp] and more contemporary digital “network” musings.
The one sheet describes the album’s opening this way, “inspired by the searing glissando that opens the Greek musician’s seminal (1953–4) work Metastaseis, the piece pairs a series of rip-roaring slides on a highly saturated and distorted electric guitar (performed by … Stephen O’Malley) with the halting attempt of Lindwall’s instrument to follow it […]. It’s an electrifying piece of music, slapping the listener round the face straight out of the gate at the start of the record. But it’s also a deft study on the uneasy relation between analogue curves and digital steps.”
In the 1990s, as the Stockholm club scene started taking off, Lindwall found himself moving in the same circles as the electronic music artists connected to the city’s legendary Cheiron studios. The aesthetics of 90s rave remains an important part of his musical DNA to this day.
Born in the Swedish capital in 1976, Lindwall learned his chops copying the solos on Steve Vai records. It was only later, towards the end of his teens, that he even started playing keyboard instruments. When seeking to enter Stockholm’s prestigious Royal College of Music, Lindwall tendered two applications: to the jazz department, as a guitarist, and to the classical music department, as an organist. He was sure he would be accepted with the guitar. In the end, he was rejected from the jazz department for spurious reasons, inadvertently setting Lindwall on a path to becoming a classical organist .
Lindwall has collaborated with and or performed with many established and emerging artists, including: Cory Arcangel, Tarek Atoui, Noriko Baba, John Duncan [!!], Mark Fell [!!!!], Mauro Lanza, Jesper Nordin, Studio For Propositional Cinema, Emily Sundblad, among others.
Now a professor of improvisation at the Institut Supérieur de Musique et de Pédagogie Royal (IMEP) à Namur, and the artistic director of Les Inspirations Visibles, Lindwall appears to be quite busy.