Almost in G by Christian Winther Christensen


Christian Winther Christensen  | Almost in G
col legno (CD/DL)

Time. Tik-tok. Plink-plonk.

The concentric cycles of the day and the labour within the day and the activities within the labour and each movement within each activity. Is it, is everything predictable? Is it, everything determined? Or things we do today, the most transitory movements, can lead to unexpected results in the future?


Some little scrap of metal, a screw or a nut, a piece of wood left somewhere can be crucial for something I might build in years.”

This is what my grandfather used to say. He worked as a repairer of analog cameras and it was the sense of archaeological sedimentation together with the smell of dust, that is what made his laboratory a magical place.

((( LISTEN )))

The same feelings I had while listening to Almost in G, from Christian Winther Christensen, this thoughtful and enigmatic composer, yet very natural, who doesn’t deliberately leave behind any aspect of the hyper-complex palette of human emotions. In his latest album – Almost in G – he presents this multifaceted personality through questions and mantras, showing us the entire construction process in a manneristic fashion, and giving himself the time to invent and alchemically morph materials into other states of being to juxtapose them in a schematic and very interesting way.

Fumbling in cases and drawers to look for that exact scrap of metal or wood that is lacking here and there Christensen shapes an allegory to the reality of labour weaving a complex picture of XIX century steam powered myth, down the rainy alleys of industrial revolution, with a pre-electric touch of gears and mechanisms. His music is a custom made tale of marvel and exaggeration from the modern times when science was still highly approximated and somehow grotesque.

With his carpentry skills he builds for us a baffling instrumentarium of prototypes of which we recognize some shape or prominent feature but that never appear as a finished process. Such ambiguity is strong also in his composition style, broken and twisted, that results in a sharp and intelligently self-deprecating caricature of itself.


Things get even more interesting as he starts playing on the edge of darkness, including more gloomy elements, that are still addressed in a rather clownish way, as we unconsciously begin our walk in one of those obscure sections of a museum of natural sciences where obscure and bizarre malformed dissected animals are kept in formaldehyde.

A very interesting revelation.

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