Forms & Poses //

Album label: 
Release date: 
Recording location: 
Vigelandsmausoleet/Rinzai Zen-Center Oslo
Recording date: 
Monday, November 2, 2015
Thanks: Kristoffer, Caroline, Björn, Mikkel, Tobias, Rune, Guille, Christian Big Thanks: Rinzai Zen-senter Oslo, Ashtanga Yoga Oslo, Nakama, Avin
Artwork design: 
Christian Meaas Svendsen
Mastering engineer: 
Christian Obermayer
Mixing engineer: 
Christian Obermayer
Christian Meaas Svendsen
Recording engineer: 
Christian Obermayer
Recording engineer: 
Rune Børø
  • 1. Vita (19:46)
  • 2. aria prefix M- (05:54)
  • 3. Forms & Poses (06:01)
  • 4. Chidori (07:25)

Christian Meaas Svendsen - Double bass

«Forms & Poses» is Norwegian bass player Christian Meaas Svendsen’s second solo album, and features four compositions/improvisations which explores the physical connection between the human body and the double bass. The physical connection is obvious already on the front- and back cover, and although this physical connection is not necessarily so easy to actually see in the music itself, Svendsen’s hands-on approach to his instrument on this record are at least plausible to leave a physical impression in the listener’s body. The monumental «Vita» takes us on a pulsating 20 minutes long life-to-death journey through the very depths and heights of his instrument in the vibrant «Vigelandsmausoleet». In contrast, the three other tracks are recorded in Rinzai Zen-senter Oslo, and they all zoom in on the more short-lived sounds of the double bass. «aria prefix M-» is a poignant and tender ballad centered on creating harmonies by plucking both sides of a stopped string, creating a unconventional accompaniment for the tune’s simple melody. On the title title track «Forms & Poses» the physical aspect is clearly present: It is an arranged version of a series of excerpts utilizing hands, feet, body and bows to create complex and multi-phonic soundscapes on the bass, and the final track «Chidori» is a ferocious Tour de Force mimicking the sound of a «thousand birds». Although recorded in two entirely different settings, it is clear that Svendsen’s mind-set on all these tracks are one and the same, and the release shines as a condensed representation of his creative diversity.