SPUNK
Kantarell
RCD2085
Rune Grammofon 2009
09 Tracks. 46mins44secs

CD: Amazon UK | Boomkat Download: Amazon UK | iTunes

If it was possible to add up the musicianship for each of the bands housed on the excellent Rune Grammofon imprint and place them in ascending order, it is probable that all-female improv collective Spunk would be light years ahead of their nearest contenders. Formed of Kristin Andersen, Hilde Sofie Tafjord, Maja Solveig Ratkje and Lene Grenager, all classically trained and highly respected musicians and composers in their own right, Spunk, which celebrates ten years at the forefront of the avant-garde improv movement, has always seemed like the most exhilarating of playgrounds. One of the staple acts of Rune Grammofon, they released their debut album, Det Eneste Jeg Vet Er At Det Ikke Er En Støvsuger only a few months after the label was launched, and, consequently had the like of Svalastog, Kim Hiorthøy, Martin Horntveth, Phonophani or Lasse Marhaug remixing their work for the Filtered Through Friends album. The quartet having since reconvened twice, first in 2002 (Den Øverste Toppen På En Blåmalt Flaggstang) then again in 2005 (En Aldeles Forferdelig Sykdom), but all four members have, in the last few years, been busy with individual projects, leaving their communal outfit dormant.

Like its predecessors, Kantarell is a totally unclassifiable affair, fidgeting uncomfortably somewhere between electro-acoustic, modern composition, avant-garde and noise, none of these fitting particularly well yet providing some clues to the overall scope of the formation. Each of the four members has a particular role within Spunk. Andersen plays trumpet and flutes, Tafjord deals with French horn and electronics, Ratkje focuses on voice and electronics and Grenager plays the cello. Yet, the resulting compositions demonstrate that the instruments are exploited in many more ways than is usually considered, and there is often very little distinction between acoustic instruments, straight playing and electronic treatments. Some of the strongest characteristics of Spunk’s sound over the years have been its incredible fluidity, versatility and playfulness, and all three are present a plenty here as the quartet relentlessly go through peaks and troughs, at times only using just a handful of sounds, arranged into intricate yet minimal formations, while at others, the concentration of noises is such that it becomes totally impossible to discern clearly any of the components. Remains the visceral urgency fuelling these moments. It could therefore be surprising to find any finesse and refinement in this, but, like on previous records, these are well and truly present all the way through and inform the work of Spunk as much now as they ever did.

Despite only having published four original albums in ten years, Spunk are a seminal Rune Grammofon act in the same way as Supersilent, with whom they share an instinct for improvisation, or Alog are. Representing the most experimental and ‘out there’ facet of the label, they have lost none of their initial drive and flair. In fact, unlike most, they have not mellowed in the slightest and one can only wish that the four continue to chart some of the most remote grounds with the same thirst and playful approach for many years to come.

4.7/5

Spunk | Rune Grammofon
CD: Amazon UK | Boomkat Download: Amazon UK | iTunes