Bendik Giske - Cracks
Artwork Cracks
The record opens up like a fluttering bird. Shy and almost frightened sounds elicit out of Bendik Giskes' saxophone. Soon his initially cautious tones develop into yelling yet gentle movements. With “Cruising” a deep punctuated bass discharges the constricted tension and merges into a hectic but flowy melody of the saxophone. To me it sounds like an interpretation of Bach's Prelude No. 1 since he plays a very similar melody on his saxophone, though less sentimental. While in the previous song the saxophone sounds weak, it now seems to gleam and prosper. Its mystic atmosphere is created by a lot of reverb which spreads out more and more. In response, the playing of the saxophone becomes shriller again and then seems to slowly disappear into the atmosphere.
“Void” intensifies this oppressing tension. Its Drone-style resonates abandoned and dark with some remnants of the energy of the previous song. A dialogue between a shrill voice and the saxophone make the mood even more uncomfortable.
Out of the void we arrive through “Cracks” into a surface that feels strange even ghostly. Without question this would be the perfect soundtrack for a sci-fi-movie. Throughout its 8 minutes you can really engage with the unique atmosphere. As a response to Void “Matter (part 3)” continues with the same motive, however even shriller almost dissonant. The saxophone ends the album with a faint flutter just like it started.
Unquestionably this music isn't a classical approach to the saxophone for sure. You must take Ginskes' background into account: As a queer man growing up in Norway, and then attending a music conservatoire in Copenhagen, he dislikes the straight, male structures that are found in the Scandinavian jazz scene. “By playing tunes you step into that understanding of what the saxophone is supposed to be, what it usually does,” he says. “I wanted to find my voice by abandoning the soloist role, which is a very illogical thing to do on the saxophone.”
So he decided to show his instrument on its whole, placing numerous microphones around his instrument in order to include his fingers clicking against the keys and keypads which makes his sound as organic. Moreover, he multiplies the noises of his breath and singing by applying an effect pedal. Also the typical sound he creates with his saxophone is a technique normally used on a didgeridoo by circularly breathing on a flute.
A lot of heaviness remains after listening to Cracks, though Giskes' progressive rethinking of playing the saxophone leaves the most captivating impression. He has tailored his saxophone to meet his very own personal approach. At first it seems difficult to crack his techniques though it sounds even more overwhelming if you know what kind of methods lie behind them.
