Astrid Sonne

Astrid Sonne

Escho_Dk

Astrid Sonne is a Copenhagen-based composer and viola player. With a background in classical music, she opens up an electronic space to channel different perceptions of sensory and emotional states of being through open, melodic compositions. Balancing contrasts is a reoccurring theme in Astrid Sonnes work, where alternation between repetition and renewal is used as a mean of expression. Her compositions consist of everything from synthesizers to choir samples and viola sequences, exceeding genre definitions yet paying homage to sources of inspiration, be it a Danish choir tradition or various noise soundscapes. Furthermore, Astrid Sonne has engaged in creating conceptual, site-specific compositions for places like the old ruins under the Danish Parliament and a stretch of the Copenhagen Metro as a part of Trans Metro Express for Strøm Festival.

Debut album Human Lines was released via Escho on February 16th 2018. Astrid Sonne says: “With Human Lines I wanted to explore the balance between repetition and renewal in various universes which responds to different emotional stages. It has been important for me to work with the idea of what happens when computer-generated sound meets organic sound, such as vocal and viola, but always bearing in mind that it should not overshadow the emotional relatedness that I wish for people to have when they listen to this album.”

‘Cliodynamics’ is the second release by Copenhagen composer and musician Astrid Sonne set for release on 4th October 2019 via Danish label, Escho. The mini-LP is a collection of tracks written and recorded over the past year in Germany, Portugal and her birth island Bornholm in Denmark. Alongside the announcement of her mini-LP, today Astrid Sonne shares lead track ‘Area Under A Curve’ with accompanying visuals by Salomon Santis and Ditte Tygesen, featuring performer Mads Bittmann who paradoxically embodies strength and vulnerability side by side in a dance of care and self expression.

Acting as a sequel to her debut album ‘Human Lines’ (2018), ‘Cliodynamics’ allows the listener to delve deeper into the enveloping elements of her compositional practice. The result is an even more refined electronic expression, continuing to bring in her instrument of choice, the viola, as a natural part of her music. As well as adding something new to her work, working with four vocalists.

With a reinforced interest in transitions and crossings in form and structure, the six tracks present their very own perception of emotional states of being. Each composition is a thorough exploration of their own dynamics and pace, paying close attention to the qualities connected to the sensitive features. ‘Cliodynamics’ in total becomes a guide carrying the listener through islands of both high-intensity polyrhythmic and careful ambience with equal kindness. Common for the compositions is the continued way of working with the balance between repetition and renewal in the musical material. Sonnes approach is both insisting and bendable at the same time, accommodating consideration for balance and dynamics in each piece.

While some themes remain the same, others naturally evolve showing Sonnes growth as a composer. The viola can now be found directly connected to electronic elements bringing forward the acoustic/electronic dualism of Sonnes musical practice. Sonne explores an inner mediation on beginnings and endings, on memories and awareness of universal temporality blending an emotional soundscape with minimalistic compositional tools, resulting in a crystal clear musical aesthetic.

Astrid Sonnes connection to choir music emerges in the closing track of ‘Cliodynamics’ with the vocal piece ‘Strong, Calm, Slow’. Each voice has its own distinct features and qualities, creating four unique ways of singing by vocalists Andrea Novél, Henriette Motzfeldt and Xenia Xamanek. However, it is the unity of these different expressions that create the piece, maintaining their individuality while being more than the sum of four voices at the same time. This union between such diversities becomes a strong metaphor within the mini-LP too, six different sides of Sonnes universe appearing in total as a multifaceted quartz crystal that is ‘Cliodynamics’.

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