Nubium Swimtrip

Tonbruket - Dig It To The EndCD / Vinyl / digital Dan Berglund double bass Johan Lindström acoustic & electric guitars, lap- and pedalsteel Martin Hederos piano, pumporgan, keyboards, violin Andreas Werliin drums, percussion Originally formed in 2009 by bassist Dan Berglund (formerly e.s.t.), guitarist Johan Lindström (Per Texas Johansson), pianist Martin Hederos (Soundtrack Of Our Lives) and drummer Andreas Werliin (Wildbirds & Peacedrums), Swedish super-group TONBRUKET (‘tone workshop’) have created another masterpiece with their second outing “Dig it to the end”. Although their eponymous debut album was a concept album as well, with “Dig it to the end” they define their unique band sound and style even further and carve out their musical niche combining instrumental prog-rock with improvisational elements. The album title “Dig it to the end” refers to the compositional and the recording process. “We went the extra mile to really carve out the songs and compositions. It was like shuffling earth to excavate the true heart, meaning and soul of each song”, explains Johan Lindström, who with six songs to his name was again the most active composer. “But then you are also free to interpret it as an invitation to really listen carefully to all songs. It is worth it”, he adds with a twinkle. The basic tracks were laid down in Stockholm´s Atlantis Studio. From there they took the tapes to Johan Lindström´s Hammarby Studios and over a few weeks refined, edited, mixed and added to reach the ultimate result. There are some stories hidden behind the titles of the songs. “Vinegar Heart” was inspired by Indian writer Arundhati Roy´s novel ‘The God of Small Things’. Kochu Maria is described in the book as the vinegar-hearted, short-tempered, midget cook, who does not speak English and eventually becomes a television addict. “Le Var”, one of the key songs on the album, is a territory in France located around the perfume town of Grasse. Read backwards it becomes ‘Ravel’, and for Tonbruket Debussy and Ravel have both been inspirations as both of them are “the first jazz composers, judged by the chords they are using”, and “Le Var” becomes the band’s ‘Bolero’. To break with the classical rhythm of the ‘Bolero’ Tonbruket lay a Mambo-style rhythm underneath the tune. “This twist to the music was very much inspired by my appreciation of Perez Prado – Cuba´s Mambo King”, says Lindström. Johan Lindström, who contributed the majority of songs to Tonbruket’s debut album, is a self-taught musician. He started playing the piano at the age of 12 and picked up the guitar at 13, forming his first band 14. “It was something like a ‘Beatles Revival Band’. For roughly two years we did nothing but play Beatles´ songs all the time. Then at 16 I started to compose my own songs.” says Lindström. By the age of 19 he had become a first-call session musician and string arranger on the Swedish studio scene. Ten years on he opened his own studio ‘Hammarby Studios’ where he has produced over 30 albums to date, simultaneously arranging, composing and creating sounds for artists such as Nina Kinert, Freddy Wadling and Anna Ternheim. Lindström has played with Per Texas Johansson´s band, and has recorded with Elvis Costello (producer) for an album with Anne Sofie von Otter. He is best known for his unique use of guitars and pedal steel. There are not many musicians outside of country music that use the pedal steel’s distinctive sound - David Gilmore from Pink Floyd, or Paul Franklin from Dire Straits are probably among the best known – but for Tonbruket it has also become part of their signature sound. Johan Lindström and Dan Berglund met for the first time 11 years ago when they both played for a short time in Per Texas Johansson´s band. Dan remembers that they always had a lot of fun together and throughout his e.s.t. years they never lost contact, with Dan even performing.Credits: Recorded at Atlantis Studio in Stockholm by Janne Hansson and Hammarby Studio in Stockholm by Johan Lindström Mixed by Johan Lindström and Tonbruket Mastering at Cutting Room by Håkan Åkesson

Tonbruket - Masters of FogCD / Vinyl / digital Dan Berglund double & electric bass Johan Lindström guitars, pedal steel guitar & keys Martin Hederos piano, synthesizers & violin Andreas Werliin drums, percussion & radio (on 2) Perseverance yields results – and sometimes produces things which just seem to get better and better...like Tonbruket (it means ‘sound factory’). The four Swedes have been making music together for 10 years now, and in their sixth album "Masters of Fog", the band has done the musical equivalent of throwing a smoke grenade. Musical genres suddenly become indistinct and blurry. Tonbruket give themselves up to the imagination, to the senses, and to the intoxication of the moment. It really doesn't fit into any category – except that it is deeply enjoyable. When Tonbruket was formed in 2009 and consists of four equals with markedly different musical backgrounds. Bassist Dan Berglund brought to it a remarkable openness to new stylistic ideas and also a natural inquisitiveness, both of these traits having developed significantly during his fifteen years travelling the world as a member of e.s.t. Guitarist/multi-instrumentalist Johan Lindström has a seemingly effortless command of just about any stringed instrument. His instinct for tone colour brings to mind the painter Caspar David Friedrich, such is the limitless extent of the timbres and moods in his musical palette. Keyboard player Martin Hederos came to prominence as a member of the Swedish rock band The Soundtracks Of Our Lives. The fourth member of the band is drummer Andreas Werliin, who made a Europe-wide sensation in the edgy voice/drums duo Wildbirds & Peacedrums and currently thrives on the particular mixture of free jazz, psychedelic rock and noise which defines Mats Gustafsson's trio Fire! The fact that such a combination of personalities can be made to work at all is down to the combined will and talent of all four protagonists, as they give their unconditional commitment to the band, and never draw attention to themselves as individuals. On the albums "Tonbruket" (2010), "Dig It To The End" (2011), "Nubium Swimtrip" (2013), "Forevergreens" (2016) and "Live Salvation" (2018), the four brought their total conviction to describing a journey. From the sources of jazz to a confluence of prog rock, Americana, psychedelia, North African music, ambient trance music and avantgarde pop. Although the band has no frontman in the conven-tional sense, comparisons with groups like Radiohead or The National are apposite. Describing Tonbruket's style with normal genre descriptors is more or less hopeless, because Tonbruket is not just the sum of everything that the individual members have picked up on their travels, they always have an astonishing capacity to emerge in a radically different place from where they have just been. Tonbruket’s sixth album "Masters of Fog" is not just an affirmation of who Tonbruket are, it is also a challenging and new departure. Far from using their tenth anniversary as a pretext for looking back, they have the desire more than ever to explore new terrain here. And whereas on each their previous albums there was a single narrative thread, "Masters of Fog" is much more like a collection of separate short stories which nonetheless have logical links to one another. The sound palette has become so diverse, the combination of the four voices has become so complex, it can sometimes be tricky to work out which member of the band is producing which particular sound. In terms of cohesion, the band has once again reached new highpoint with its energy and communication. The compelling groove, the search for the new in the old and the panoramic sound are still the hallmarks of a band which is recognizably Tonbruket from the very first note. And yet the combinations of sounds, melodies and references appear completely new. Berglund, Lindström, Hederos and Werliin are not only completely cognisant of their own capacities, they also know what they want. "Masters of Fog" is a lively and self-confident departure into a world of new adventures in sound. And as for where Tonbruket might be headed next, not even these four undaunted travellers are going to be able to tell you that! Credits: 01, 03 (part 1) & 09 recorded by Mikael Lyander at Sandkvie Studios. 02, 03 (part 2), 04, 06 & 11 recorded by Anton Sundell and Johan Lindström at Studio Bruket. 05, 07, 08 & 10 recorded by Janne Hansson at Atlantis Studio Strings on The Enders and Enter The Amazonas played by Kvarts: Alva Press and Matilda Norlöv (violin), Anna Rubinsztein (viola) and Erik Elvkull (cello). Arranged by Martin Hederos (The Enders part 1) and Johan Lindström (The Enders part 2/outro and Enter The Amazonas). Recorded by Janne Hansson at Atlantis Studio Sound effects on Enter The Amazonas by Anton Sundell Mixed by Johan Lindström and Tonbruket at Studio Bruket, except 01, 09 & 10 by Janne Hansson & Tonbruket at Atlantis Studio; 04 & 06 (intro) mixed by Anton Sundell at Studio Bruket Mastered by Henrik Jonsson at Masters of Audio Produced by Tonbruket

Magic Moments 1167 minutes of pure listening pleasure: The eleventh edition of the popular Magic Moments offers a comprehensive insight into our latest ACT releases with newcomers, ACT stars and real insider tips at a special price. Among others with Michael Wollny, David Helbock, Vincent Peirani, Iiro Rantala, Joachim Kühn New Trio, Ida Sand, Lars Danielsson & Paolo Fresu and many more.Credits:Compilation by Siggi Loch Mastered by Klaus Scheuermann Manufacturer 

Tonbruket - Live SalvationCD / digital Dan Berglund double bass Johan Lindström guitar, pedal steel Martin Hederos piano, synthesizers, violin Andreas Werliin drums Tonbruket live on stage is an experience you will never forget: The superb concert recording „Live Salvation" captures the band’s fluidity as it moves from lulling and sensitive folk through playful and hip jazz, and onwards and outwards to ferocious full-on rock, casting the Swedish quartet in a different light from its award-winning studio recordings. The dovetailing and the interaction between the musicians are immaculate. If no single band member appears to stand out as a soloist, it is because they have a way of all soloing together at the same time. "The team is the star," wrote the Esslinger Zeitung's critic in a highly enthusiastic review of the Tonbruket concert at Jazzclub Bix in Stuttgart which is now presented on this CD. . "The team is the star," wrote the Esslinger Zeitung's critic in a highly enthusiastic review of the Tonbruket concert at Jazzclub Bix in Stuttgart which is now presented on this CD. After nearly a full decade together, it is now apposite to look back and consider all that Tonbruket have achieved. They have made four highly acclaimed studio albums on ACT, each of which received a Swedish Grammy. They have also performed countless tours, and always with the same line-up, which is never something that should be taken for granted. It means that Dan Berglund, Johan Lindström, Martin Hederos and Andreas Werliin have grown together into a unit that can groove like a perfectly-oiled machine (Tonbruket in English means ‘sound factory’) and yet can also defy expectations with their poetic lightness. “Salvation”. The album title evokes spiritual healing. These four Swedes don't just play because they always have, not just because they lived it large as teenagers in punk bands, nor because they studied music. They perform because it is their be-all and end-all, because their physical and mental health depends on it. The formation of the band in 2009 by Dan Berglund and Johan Lindström was preceded by a traumatic experience: the sudden death of the man who had been Berglund's closest musical colleague, pianist Esbjörn Svensson. That tragic event on June 14, 2008 brought his trio e.s.t.’s spectacular success story to an abrupt halt. Anyone who has ever experienced a Tonbruket concert will have an idea of what this album has in store. The songs tend to be much longer than the precisely worked studio versions. There is time for solos – but they serve the tune in a way that they never feel like solos. The listener at a Tonbruket concert can relax, close their eyes, surrender completely to wondrously dreamy sounds...only to be subjected to a merciless onslaught. Is it “progressive?” It’s more than that: avant-garde folk meeting psychedelic jazz and progressive rock. "The way the musicians interweave acoustic and electrical instruments is a particularly fine craft," wrote the German magazine Stern. Tonbruket played music from their last three albums in Stuttgart, and all eight songs on the album have a special, added, live dimension about them. "Dig It To The End" has a deep, earthy groove, to which Martin Hederos’ swinging honky-tonk piano lends an unexpected lightness. "Nightmusic", at twelve minutes, is almost twice as long as before. In its long keyboard passages Tonbruket show a Pink Floyd-like playfulness, which then in turn leads to bass solos by band founder Dan Berglund, shadowed by the ghostly rustling percussion of Andreas Werliins. To end the album, the 14-minute “Vinegar Heart” offers a fabulous trip, leading from the abyss up into the light and the heights – and back down again. What begins with dub noise moments, turns into a gentle journey through the Appalachians with the howling pedal steel guitar of Johan Lindström. The Kölnischer Rundschau’s reviewer once summed it all up rather neatly :"An adventure trip through the past, present and future. It fits in no category – and it’s fun."Credits: Recorded live in concert by Åke Linton at Bix Jazzclub Stuttgart, November 17, 2016 Mixed by Tonbruket and Anton Sundell at Studio Bruket Mastered by Henrik Jonsson at Masters of audio * from the album Forevergreens, ACT 9811-2 ** from the album Nubium Swimtrip, ACT 9558-2 *** from the album Dig it to the end, ACT 9026-2 Produced by Tonbruket Cover art by Jesper Waldersten: Salvation, 2017 with the kind permission of the artist

Various Artists - Fahrt ins Blaue Nguyên Lê &Paolo Fresu, Lars Danielsson feat. Jan Bang, Wolfgang Haffner, Bugge Wesseltoft, Jacob Karlzon 3, e.s.t. Esbjörn Svensson Trio, Cæcilie Norby, Oddjob, Frank Woeste, Viktoria Tolstoy feat. Nils Landgren, Ida Sand feat. Jan Lundgren, Nils Landgren Funk Unit, McJazz [directed by Annette Humpe & Anselm Kluge], Roberto Di Gioia's Marsmobil feat. Johannes Enders, Tonbruket, Michael Wollny Trio On Fahrt ins Blaue, atmospheric soundscapes pass by: organic, dynamic, virtuosic, and smooth. The compilation floats effortlessly between electronic textures and acoustic jazz. The journey begins. Time seems to stand still at first: A breeze from Sardinia drifts through a mysterious Asian world (“Lacrima Christi”). The sound cosmos of trumpeter Paolo Fresu and guitarist Nguyên Lê is hypnotic and directionless. A groove sets in — a simple piano melody floats on the surface (“Ironside”): chill-out jazz with blue notes by the master of atmosphere, Lars Danielsson. The Fahrt ins Blaue continues with “Germany’s coolest drummer” (ARD ttt), Wolfgang Haffner, and his drum & bass-inspired ambient jazz (“Shapes”). Pianist and sound tinkerer Bugge Wesseltoft offers insight into his “New Conception of Jazz” (“Existence”). Things become weightless with Jacob Karlzon’s electro-acoustic piano trio jazz (“Bubbles”). The Esbjörn Svensson Trio takes us on a summery, joyful joyride with their virtuoso fun-hit “Spam-Boo-Limbo.” Things take a quirky turn when Clint Eastwood rides across the soundscape in “Ecstasy of Gold”, from the Western classic The Good, the Bad and the Ugly, in a jazzed-up version by Swedish jazz cowboys Oddjob. That feeling of cool summer rain on your skin is evoked by Ida Sand with her haunting cover of the Eurythmics’ “Here Comes The Rain Again.” And Nils Landgren’s Funk Unit meets us with a funked-out, laid-back take on an ABBA classic (“Gimme! Gimme! Gimme!”). We make a relaxed stop with Annette Humpe’s McJazz. With charm and a wink, she serves up “Coffee & Tea.” Nu jazz, minimal electro, and lounge pop intertwine in a unique blend crafted by keyboardist and multi-instrumentalist Roberto Di Gioia. On “Yelloworange,” he’s joined by saxophonist Johannes Enders. In a moving and elegiac homage, Dan Berglund’s Tonbruket remembers the late Esbjörn Svensson — the shining star of European jazz who passed away in 2008 — with “Song For E,” before the Fahrt ins Blaue ends with the Michael Wollny Trio: “Questions In A World Of Blue.”Credits:Compilation produced by Marco Ostrowski Mastered by Klaus Scheuermann

Tonbruket - ForevergreensCD / Vinyl / digital Tonbruket are:Dan Berglund double bass Johan Lindström guitar, pedal steel, keyboards Martin Hederos piano, synthesizers, violin Andreas Werliin drums Guests: Ane Brun spoken words (01), voice (03) Per Texas Johansson bass clarinet Anna Högberg baritone saxophone Martin Holm tenor saxophone (11) A new beginning for Tonbruket Tonbruket's first three albums put down a strong marker... Over the course of their three albums, the Swedish band Tonbruket have comprehensively defined the part of the musical universe which they choose to inhabit: a world on the outer boundaries of unshockable prog rock, of uncharted avant-garde folk, and of the kind of jazz where the rule-book has been thrown away. Tonbruket have been able to put down a decisive marker of their identity because each of the members is such a strong individual musician. The band represents the meeting of four people who have already proved themselves in many different contexts, and who were pleased to bring all of the vast experience that they had gathered into this new situation. Bassist Dan Berglund had been an intrinsic part of the reinvention of jazz which took place in the Esbjörn Svensson Trio. Guitarist Johan Lindström is a multiple threat on a whole panoply of stringed instruments. Keyboardist/ violinist Martin Hederos is a member of “The Soundtrack Of Our Lives,” one of the best known Swedish rock bands. Drummer Andreas Werliin is in bands such as “Fire!” and “Wildbirds & Peace Drums,” where he ventures into the experimental and the psychedelic. Considered together, the first three albums of Tonbruket form a consistent trajectory. “Tonbruket”, “Dig It To The End” and “Nubium Swimtrip” are an indivisible whole, in which the band remained true to its vision to take conventional jazz formats and shift them in the direction of instrumental rock music. ...but a creative time-out was the right thing…. Before they embarked on their new album, however, the four decided to re-charge their creative batteries. After the album tour for “Nubium Swimtrip”, Berglund, Lindström, Hederos and Werliin deliberately scheduled an extended time-out. The reason for doing that was not because the band was in any way burnt out – far from it. Each of the four band members, through their involvement in so many other projects, simply had too much else to do. That variety of activity is something which manifestly also acts to the benefit of Tonbruket, because the members let their wide-ranging musical experiences feed into what the band does. However, there are times when these other activities themselves need to be attended to. Andreas Werliin was particularly keen to concentrate on his other bands. Berglund, Lindström and Hederos accepted a commission from the Royal Dramatic Theatre in Stockholm to contribute the music to a play based on a movie by Finnish film director Kaurismäki. The work that the three created followed Kaurismäki‘s aesthetic, and the musicians found themselves exploring very different musical frontiers. They created tangos and polkas for the theatre, and this opened up new points of connection for them. Later, back in the company of Werliin and under the banner of Tonbruket, these new impressions were front-of-mind, and led them off in the direction of producing completely new music. ...to ensure a new beginning…. This, then, is the back-story of how and why their fourth album “Forevergreens” represents such a new beginning for Tonbruket. Some of the tracks are extremely soft and gentle, romantic, acoustic, jazz-inspired, while others use prog rock as a springboard from which to make the short leap into heavy metal. The pieces the band plays can differ hugely from each other in shape, intensity and stylistic origin. The result of this is that the listener's attention tends to be drawn away from the specific and from the moment-to-moment, and towards the totality of what is happening. Tonbruket's music has always been uncategorizable by genre, but on “ Forevergreens” they have left even that impalpability behind. In its place what they are doing is living their paradoxes, relishing the contrasts between successive tracks, savouring each tempo, mood, frame of reference, and even having fun with clichés. “Forevergreens” is both the quietest and the loudest of their albums. They have never ventured quite so close to jazz – nor have they strayed quite so far from it. The conventional stereotype where bands do a roller-coaster alternation between fast bits where they ratchet up the intensity, and then chill out in ballads is not adequate to describe this band. Their changes of scenery and of musical material are far more holistic and natural. ...with plenty of surprises…. So, let the surprises begin. They start with Norwegian pop-diva Ane Brun, who has had Tonbruket as her backing band for a while now, and whose voice the band introduces from the outset. Surprises and contrasts continue with the post-rock “Mano Sinistra” (the Italian expression for using the left hand in the treble register at a piano), and then on into ephemeral jazz tunes such as “Sinkadus,” in which Ane Brun's voice is to be heard again, and “Music for the Sun King.” Things then get a good deal more intense, culminating in earth-shaking rock-outs like “Tarantella” or “Linton,” and then on into the folksy klezmer/tango combinations of “Polka Oblivion” where Martin Hederos' violin playing has an enchanting vocal quality, and on which Per Texas Johansson's bass clarinet and Martin Holm's tenor saxophone also appear. One might become tempted to call the music on “Forevergreens” 'jazz'...there again, it could just as easily be called 'instrumental rock'... or indeed 'avant-garde folk'. But perhaps the most convincing description of it is the sub-genre that Johan Lindström has invented to describe this journey to the outer limits of all three: he calls it music.Credits: Recorded by Åke Linton at Clouds Hill Recordings, Hamburg, Aug. 25 - 29, 2015 Mixed by Janne Hansson & Tonbruket at Atlantis Studio in Stockholm Mastered by Björn Engelmann at Cuttingroom Studios, Stockholm Produced by Tonbruket

Tonbruket fuses jazz, rock, electronic, and traditional music into an intense, boundary-breaking sound—innovative, dynamic, and genre-defying.

"With Tonbruket, Dan Berglund continues on the path exactly where the star of e.s.t. burned out." JAZZTHING