Rebecka Sofia Ahvenniemi's debut Tacit-citat-ion is a reflection of contemporary Scandinavian composition – gestural, yet empowered by painstaking attention to detail. Breath sounds, glottal stops, microphone static, white noise, electronic interferences, the percussive friction of instrument bows – these byproducts of music are the backbone of Tacit-citat-ion, yielding a truly unique auditory experience...

First things first. If you're not a fan of avant-garde classical music then this is not the album for you. Rebecka Sofia Ahvenniemi's experimentation pushes things to the limit and then ploughs on into uncharted territory. Tacit-citat-ion is a release that will take days, weeks, months... maybe even years to completely get to grips with.

Over the course of this album's 11 tracks (57 min, 46 sec) there are so many elements that grab your attention. From the laughing female voices of 'Barnet som blev osynligt' to women crying/singing in 'Banalala', your senses are constantly attacked. 'Tacit-Citat-ion' uses electronic manipulation to give an eerie feel to the stringed instruments employed, while 'Winds' features the sound of rushing wind, again electronically manipulated.

Familiar elements from numerous genres are visited and twisted. such as romantic operatic singing in 'Dada-aria' or the mix of classical and jazz elements in 'L'operette d’amour'. Ahvenniemi takes the familiar and presents it in a new form, reflecting the traditions of music and the surrounding society.

For those looking for traditional classical music, there's not a lot to get you interested here, but if you're looking for an experimental album that's a little different, look no further.

5

Darren Rea