Forevergreens Tonbruket

• 1 Intro 00:33
• 2 Mano Sinistra 07:07
• 3 Sinkadus 06:24
• 4 Tarantella 06:22
• 5 Music for the Sun King 05:43
• 6 The Missing 04:47
• 7 Frösön 04:22
• 8 Linton 05:51
• 9 First Flight of a Newbird 04:48
• 10 Passage Europa 01:13
• 11 Polka Oblivion 05:21
• Total Runtime 52:31

Info zu Forevergreens

Die Band um den ehemaligen e.s.t. Bassisten Dan Berglund 'reißt mit Vorliebe Genre-Grenzen ein [...] und birgt faszinierenden Sound zwischen Jazz und Rock' (Stern). Mit ihrem nunmehr vierten Album setzen Tonbruket auf 'Forevergreens' ihre abenteuerlustige Expedition ins Niemandsland zwischen verschiedensten Musikströmen fort. Den vier Musikern geht es jedoch keineswegs um einen wie auch immer gearteten Crossover, sondern um lustvolle Verinnerlichung. Melodien, Bilder, Motive, Rhythmen und Klänge durchmischen sich. Jeder Versuch, dieses Freispiel auf der gängigen Genre-Landkarte zu verorten, muss scheitern, denn jeder Song bietet neue Ansatzpunkte. Aus der Urmasse von Tonbruket lassen sich ebenso viele mögliche Stile ableiten, wie Einflüsse nötig waren, um in dieser ebenso eindringlichen wie explosiven Mischung zu kulminieren.

Tonbruket besteht aus vier extremen Individualisten, die sich hier zu einer einzigartigen kollektiven Identität zusammenfinden. Der dichte, die Instrumente miteinander verzahnende Bandsound steht im Vordergrund vor solistischen Ausflügen.

'Forevergreens' lebt einmal mehr von den packenden Grooves Berglunds und Werliins, von den variablen Gitarrensounds Lindströms und Hederos gravitätischen Keyboard-Flächen, am meisten jedoch vom verschworenen Zusammenspiel all dieser Komponenten. Tonbruket steht für die Klangerfahrung der Gegenwart, die von Hektik und Stress, aber auch unbändiger Sehnsucht nach Ausgleich, Harmonie und Frieden geprägt ist.

Dan Berglund, double bass
Johan Lindström, guitar, pedal steel, keyboards
Martin Hederos, piano, synthesizers, violin
Andreas Werliin, drums

Tonbruket
Dan Berglund was born in May 1963 and spent his childhood and youth in a small village in Sweden called Pilgrimstad near Östersund. He grew up in a very musical family and was soon introduced to very different styles of music including Swedish folk music, pop and rock. At the age of ten he started playing guitar and electric bass in rock bands – strongly influenced by artists like Thin Lizzy, Black Sabbath and Deep Purple.

In the course of his professional music education at the Birka Folkhögskola in Östersund, Dan Berglund switched to double bass. He played in the local state-run orchestra, which led to extensive touring and first TV-engagements.

In 1990 Dan got tired of playing with the orchestra and wanted to improve his musical skills, so he moved to Stockholm, registered with the Royal Music University and immediately got to know all of the capital’s great musicians – among them the singer Lina Nyberg. It was during one of the tours with Lina Nyberg that Dan Berglund met pianist Esbjörn Svensson for the first time. Esbjörn had composed several of the songs that Lina sang during her set and one day he asked Dan whether he would like to join the Esbjörn Svensson Trio.

The breakthrough for the band came after 7 long years with the albums “From Gagarin’s Point of View”, “Good Morning Susie Soho” and “Strange Place for Snow” and tours outside of Sweden. Finally e.s.t. - as they had named themselves in the meantime to document the collective group character of their collaboration - was playing worldwide to an ever-growing audience. They were selling six-digit figures per album release, winning lots of awards and were heralded as the “Trio of the Decade” (London Times) and re-inventors of jazz.

One of the keys to the band’s success probably was: the different influences in their musical backgrounds, that all of them brought - equally-weighted - to the table, and melted into a unique band sound and concept. Dan Berglund was legendary for his deep and full “Mingus-like” bass tone and his “Jimi Hendricks-like” solos, using all sorts of effects to make the double bass sound like screaming electric guitars. This has made him the sensation in many of e.s.t.´s concerts.

Esbjörn Svensson’s untimely death in the summer of 2008 put an end to Europe’s most successful jazz outfit. Dan at first resiled from all musical activities, trying to cope with this huge loss, but then he hooked up with some of his musical friends from the pre-e.s.t. era and during lots of sessions in rehearsal rooms found the joy and happiness in the creation of music again: “e.s.t. is part of my history, it influences my music making and composing right now. I was in it, it was in me and it will always be with me – just like my hard-rock history has always been part of me”.

His new partners are Johan Lindstroem on guitar, who he had met during his time at the “Per Texas Johansson” band, Martin Hederos from the pop-band “The Soundtracks of our Live” on piano, and Andreas Werliin on drums. For their new band and debut-album DAN BERGLUND’S TONBRUKET they have composed, arranged and produced all songs together.

Dieses Album enthält kein Booklet