On this solo record “Eel”, the improvisations are in turn of a much more introvert nature. The LP documents four pieces executed on nothing more than a self-made setup of varying acoustic percussion instruments and electronic feedback-chains. Due to the precariousness of the percussion’s effect on the feedback, the setup requires the player’s full attention. The music itself is an ongoing tête-à-tête between the artist and his tools, and Vestergaard makes detailed studies of the cells of his apparatus, he reacts to it and it in turn reacts to him. The results are personal tension-laden manifestations of instinct.

Interestingly, sound qualities and unpredictability sometimes recall a very different type of body music, that of a “club” producer like M.E.S.H. whose music takes its outset in an electronic music that the body can move naturally to but bends it so far out of shape that focus slides from movement to body politics. Correspondingly, another comparison for “Eel” could be Autechre, UK veterans of similarly complex “braindance”. “Eel” however is not an electronic album and it bears no relation to dance music… but it pushes boundaries evoking industrial as much as it does its origins in free jazz.

Through differing approaches, “Eel” explores various potentials of the setup. Opening piece “ojo” deals with dynamism, followed by the mesmeric “iji”; on the flipside’s “aja” the arrangement has an insectile quality to it while closer “uju” moves through various shades of intensified equilibrium. These, however, are interpretations of a single mind… Though the instantly-documented pieces to some degree places listener and performer within the same aural experience, they are certainly also open to interpretation, much like the performance titles. Though the titles are brief and following a pattern, the interpretation of them too depends on who they are perceived by, what language they are interpreted with.

Anders Vestergaard

1989-born in denmark and currently residing in copenhagen. 

Vestergaard’s background lies primarily within jazz, particularly free jazz. His undertaking is customarily centred on merging mind and body in improvisation. Best known for exploring the drum kit as part of constellations such as Yes Deer and Laser Nun, the musician’s function is usually outgoing, at least in some direction and to some extent.

collaborators include: karl bjorå, signe dahlgreen, danielle dahl, lars bech pilgaard, henrik nørstebø, finn loxbo, jacob anderskov, adam pultz melbye, ole mofjell, niklas adam etc.

https://soundcloud.com/anders-vestergaard

http://abstract-tits.com