For this release/ composition, we have eight players involved- there’s Granberg on prepared piano. He’s joined by the Swedish group Skogen- which is here made up of Anna Lindal & Angharad Davies – violin, Leo Svensson Sander – cello, Erik Carlsson – percussion, John Eriksson – vibraphone, Henrik Olsson - percussion, objects Petter Wästberg - contact microphones, mixing board & d’incise - electronics, objects. The piece was recorded in 2017, at the Atlantis Stockholm.

As with all of the work I’ve heard from Granberg- the pace, layout & flow of this composition is often very sparse, skeletal & pared back. Yet oddly though-out there’s an almost subtle pulsing groove to the whole thing, which rather makes it stand out from his other work.  The piece opens with a blend of stuck clunking piano notation, light rhythmic neck saws, vibraphone darts & subtle percussive detail- giving one the feel of a gloomy- yet- lightly scuttling vibe- as if something or some is been stalked by a playful killer. As the track progresses Granberg keeps both the feel frightful urgency & mood very much alive, as the instrumental textures & tones are skilful shifted & moved like the unwinding, and winding of a piece of different fibered rope.

At times things become shrill & sour, at others lulling, darting & creepily detailed. Going onto angularly dramatic, with at times an almost ethnic rhythmic feel in it’s twitching, darting, and snapping percussive detail. The piece comes in at just over the fifty six minute mark, and throughout this time Granberg keeps you spell-bound and enchanted by the work- as his compositional layers shift back and forth, like the moving of a subdued-yet- carefully detailed sonic puzzle box.

It’s fair to say that Magnus Granberg has become one of my favourite composer on Another Timber, as each new work finds him presenting his distinctively sparse-yet-micro detailed style in a subtly different manner- and Nun, es wird nicht weit mehr gehn is no exception, who would have thought a subtly fleetting groove could work so well in a often creepy & unsettling modern composition framework?.