A musical heart is ticking inside the longing of Jørgen Teller’s music and sound.
– And it is that That that he still knows must exist.
That – as beyond quality-controlled matter.
That – as blind as a spine of nothing.
Neither holding back – nor giving in.
That – behind veils – in work after work.
That – born out of deeply different strategies of creation – with a fitting grip on that silence.
That – a part game and a That – a part dilettante and
That with dozen of other art-cranks in play. And
That – which doesn’t come easy as in conformity – but as in fire.
If a nude dancer limped into a tightly packed music-instrument shop in a slow-motion haze only to find electricity in the sound of the fan what would be the trembling on the drummers skin?
If there are more words to embrace than brains to receive them – what would be the crumbs on the listener’s mind?
The sound of a string is stronger than it’s tuning. There is a drift in the now – and in the ears.
A frequency needs another frequency to really go somewhere. Thus intervals. Thus more intervals. It’s about the third; dissonant, consonant or noise? And the sevenths and the ninths. Jørgen loves the craze of the sound of that math and that careless throwing-in of That – dicing with us while listening.
the poetry of almost
There is a certain focus on the madness in Jørgen’s music.
Colored by growing up with the strong and fast developments of new music in the 60es’ popular music:/ electronic – prog – beat – jazz and improvised.
The impact of tuning has been a focus of constant investigation since the nineties. A long series of works based on the use of Ensoniq’s EPS 16+ samplers – with field-recording as a source among other things – led to a deep insight into the concepts, mathematics and schools of micro-tonal debris.
By constantly relating to his core estethics of being and living as an improviser Jørgen looked for ways to create tunings instantly in the moment and establish strong drones that could change without loosing impact. This led to new works on his Le Bastard – a re-stringed Höfner electric guitar – and to Lucky Ringston – solo with a synthesized short-wave radio and the Korg D-X911.
This was a clear away from editing samples and using software on laptops. The key here was the nervous-system of the composer-musician focusing on instant composition at a minimal goes maximum level. Finely adjusting those knobs to crank out a physical color-space of sound.
This sample-free direction led to reviewing what field-recording could be in respect to tuning, the moment and to the quality of information. For some years this focus then became sounds of musicians and their instruments juxtaposed with sounds from voices and reverberations from lighthouses, water towers etc., and lately this has included direction-, task- and graphic-based score works where the element of the composer becomes a kind of guide/facilitator, a pick-pocket or a gardener.
Jørgen has constantly used his sound studio as a laboratory for developments. Like many others, he uses the internet to buy and sell devices thus constantly changing the palette of available sound-manglers and core instruments. This way of working is essential to his constant research into creative development that spark new ideas and strategies for creating and composing.
Retreating into residences as a way to create boomed everywhere in the 00es. Jørgen has worked on creations in Crete, Skrova/Lofoten, Samsø, Compéta, Peloponnese, New York, Tokyo, Toronto and Rome and at a series of vintage synthesizer studios in Stockholm, Rotterdam, Aarhus and Athens. A creative flux of notations, poems, writings, visual art and local collaborations and friendships has nourished his work profoundly.
If there’s art there’s non-art.
If there’s sound-art there’s sound-portraits.
That and anti-that in time and anti-time.