The sacred at the end of the world
Photo: Cathrine Myhre Sanden
The Norwegian band Weserbergland takes its name from an area in Germany particularly known for experimental music in the 1970s.
The last two albums "Am Ende der Welt" (2019) and "Sacrae Symphoniae no.1" (2022) have aroused excitement both among the public and reviewers at home and abroad with their uncompromising avant-gardism. In addition to German noise music, Weserbergland draws inspiration in the form of modes and compositional techniques from Renaissance church music.
“This is the sound of a sandstorm, stirred up by enormous worms beneath the earth's crust. There is Promethean fire in the material, produced with the help of prepared guitar, prepared piano, strings, turntables and saxophone.
The concert, which has the title " The Sacred at World's End", takes this a step further, where the Renaissance technique with various musicians around the church room is given a modern expression. The audience is placed in the middle of the room and experiences music from various stages placed around them. The sound comes directly from the various musicians, but the sound signals are also sent to a separate station where Ketil Vestrum Einarsen manipulates it and sends it back in radically distorted forms. This reflects the working style he has used on the last two albums.