Køs’ soundscapes are based on melodic ideas expressed briefly by sax player Dybbroe, then extended by the synth and electronics of Kragelund and the drum-set of Isholm Saarup, slowly manipulated and mutated and expanded as the trio becomes one living, tangible organism. These soundscapes create sonic nuanced entities where the electronics extend the extended breathing techniques of sax and the drums add a resonating layer to the fragile, processed breaths.
The sax tone of Dybbroe and her gift to suggest instant, memorable melodies bring to mind early, experimental albums of Norwegian sax hero Jan Garbarek,
Dis (which introduced the string instrument wind-harp that was recorded on the coast of southern Norway), and his solo effort
All Those Born With Wings (ECM, 1977, 1987). Just listen to subtle, dreamy melodies of “Hovering, Hovering”, and “In Lifting Fog”, where Dybbroe’s sax playing soars and flys gently. Furthermore,
An Uncaught Bird, like
Dis, offers a strong thematic connection to the Danish nature sceneries, so close from any place in Denmark.
Køs’ sonic territories, however, reach further than the experimental voyages of Garbarek. “The Rushing Sea” and “As A Reflection” play with raw, noisy waves, and injects a poetic core to these rough soundscapes, and repetitive motives of “Through Rays Of Lights” sound like a walk inside a roomful of mirrors, but with choral-like, meditative qualities. Each piece tells its own poetic story but the last, “Freedom Feathers”, tells the most urgent and complex one, an evocative and cinematic one that informs of coming dark horizons.
Køs’ music is indeed is a thing with many unique feathers.