On Wednesday, February 24th, the Workers’ Museum Banquet Hall will be swept away in a stream of piano music, when Ukranian Lubomyr Melnyk and Danish EXEC take the stage for a double bill.
Pianist Lubomyr Melnyk is classically trained and has over the years developed his own brand of playing: Continuous Music. Melnyk’s molten compositions are likened to the flow of water, as they wind their way out of the piano and wash over the audience’s minds and ears. Referencing this fluidity, Lubomyr Melnyk’s latest release is entitled “Rivers and Streams”, comprised of six tracks which each demonstrate the pianists unique rhythm and composition.
Melnyk’s complex constructions are not inhibited by traditional norms, his tracks flowing free-form and lasting upwards of half an hour. Nor does he conform to strict dogmas of structuring his compositions – instead Melnyk becomes one with the music, transfixing the audience as they witness an organic manifestation. Watching Lubomyr Melnyk play live is like watching a piece of performance art, and the critical reception has been unanimously positive.
Troels Abrahamsen has been a vital component in Danish rock and electronic music for the last ten years, and has now returned to the scene with his first analogue solo project EXEC, accompanied only by a piano. February 12th sees the release of EXEC´s debut album, “The Limber Real”.
Although EXEC replaces the lightweight laptop setup replaced with a sturdy piano on stage, Troels Abrahamsen seems closer to his audience than ever before, stripped back for them to take in every note and feel every bit of heartbreak and hope.
The piano compositions for Abrahamsen’s latest project are inspired by the Nordic psalm tradition, although without thematically religious lyrics to accompany them. However, EXEC does produce songs imbued with an overt spiritual catharsis, as Abrahamsen muses over the fluidity of life and the inevitability of mortality. Abrahamsen is no stranger to circling dark themes in his music, yet EXEC’s lyrical poignancy in combination with the raw piano accompaniment draws out a previously unknown intensity, equal parts confronting and comforting.
EXEC sweeps you off your feet, reminding you of your inherent fragility yet simultaneously promising that you are not the only one feeling afloat. Abrahamsen croons to his captivated audience “A body that rots beats having no body at all”, demonstrating the subtle wordplay that recurs throughout his song-writing career. There is a bittersweet melancholy to EXEC that intensifies as Abrahamsen demonstrates superior vocal dynamics and unfiltered sincerity – an earnest performance that should be experienced live and up-close.
Over Frost’s three-day stay in the Worker’s Museum, light artists add an extra layer to both the Banquet Hall and permanent exhibition. Famous for large-scale video installations and transformative displays, Obscura has a long history working with visual and video scenography for all kinds of live events. They will be lighting the Banquet Hall, enchanting the audience by constructing objects that become living video sculptures though projection-mapping; light installations tailored for this particular event.
Throughout the Worker’s Museum permanent exhibition, light design collective Ungt Lys hack bits and pieces of the display, allowing audiences to go on a visual exploration through the museum halls. Ungt Lys is a group of young people with interdisciplinary skills, who share a common passion and interest for light. On a voluntary basis they explore the different branches, techniques, and methods within the field of light, having worked with Musikhuset Aarhus, Roskilde Festival and the Botanical Gardens in Copenhagen, to name a few.