Holde Träume, Kehret Wieder! is a new double CD  release from Stockholm-based Magnus Granberg, whose work sits between modern chamber music & gentle improvision. This release takes in two different takes on his 2021 composition Holde Träume, Kehret Wieder!( Sweet Dreams, Return!)- one version for a quartet & one for a septet. And as we’ve come to expect from Mr Granberg- both versions are wonderful sparse-yet-compellingly detailed works, which are equally lulling enchanting & decidedly haunting.

As we most of Granberg’s output over the last few years this new double CD set appears on the always worth Another Timbre. The two CDs come presented in the label house style sparse/ white mini gatefold sleeve- which features two crude yet rather eerier cryptic monochrome drawings, one of two people sitting in a room looking at a painting, and the other of an industrial unit which has a bridge joined to it- upon this is a placed single chair. Unfortunately, there was a mix-up with the disc labelling so the labelled quartet version is the septet, and vice versa- no big issue, but something to be aware of if you purchase it. And to do just that drop by here

So first up on disc one, we have the version for the quartet, played by Nattens inbrott- which runs at forty-four minutes and forty seconds. This features Vilde Sandve Alnaes- violin. Inga Margrete Aas- double bass. Magnus Granberg- prepared piano, and Erik Carlsson- percussion.  The work opens with two sparse notes on the piano, which is followed by a sudden clipped/ uneven note- this starts the whole thing in a jarring emotional felt manner. As we progress the keys plod out their uneven, yet hinting at harmonic pattern- which is carefully added to by forlorn string saws, sad bass bows, and subtle percussive drags and creeks. It almost sounds like some form of ancient / thought-broken clockwork cobweb-wrapped humanoid figure is slowly twitching and turning into an awkward, yet kind of beautiful life.  Each additional tone/ subtle shift in the works flow is done in a delicate, yet atmospheric manner- with the players wonderfully carving the roughly melodic heart and moodily shimmering shape of the piece- which at points feels like it could all suddenly fall apart.  Along the work's length, there are some truly spell-binding elements, which appear, then disappear- like the gentle stretching/ spinning tones, the eerie sort of warbling saw, the dragging slightly forking element, the almost dusty breathing tone, etc.   Like the best of Granberg's work- this take on the piece grows in both clarity and atmospheric depth the more times you play it.

Moving onto disc two we have the version for septet, which is played by Skogen, and runs at a second over the forty-five-minute mark. The players here are Anna Lindal- violin.  Leo Svensson Sander- cello,   Stina Hellberg Agback- harp.   Erik Carlsson- percussion. Magnus Granberg- prepared piano. And   Henrik Olsson, objects, friction   Petter Wästberg, objects, contact mics. If the first take on the piece felt decidedly dusty & clockwork- this version more slowly shambling & dragging. The tones feel both cleaner, yet at points more grating/ jarring. There is a feel of a more defined shift/ addition here, but it still all remains very fragile & hangs together.  You can recognise certainly points/ events in the pieces unfold- yet they largely feel different- in both their tonal clarity and effect.  At points, the whole thing takes on a rather creaking & rattle slurred type groove- which almost brought to a dragged-out and gone to the dark side take on exotica.  At other times it sounds like some form of organic bound glitching experimental electronica, with plodding almost harmonic/ haunting undercarriage. 

On paper, the idea of hearing the same piece played by both a quartet &  a septet may sound slightly bizarre/ pointless. But truly even after playing one after another, you feel, and wholly enjoy the very different takes on Holde Träume, Kehret Wieder!. All told another captivating journey into Mr Granberg's distinctive sound world- and most certainly one of this year's modern composition highlights.