The Danish band Girls in Airports are playing a music that is reminiscent of some so-called postrock, perhaps closest to The Sea and Cake from Chicago – but without the song. Instead they have two with the saxophones and clarinets in the front, plus keyboards, drum kits and percussion instruments. No dedicated bass player, which, in principle, to prepare a place for different kinds of keyboards as the bass range of the drums.
But like krautrockbandet Neu! – in turn, a source of inspiration for much of the postrocken – do not fill the Girls into the Airport’s necessarily the space, whether timbral or functionally. Rather, they keep hard at their given positions, so that the long moments, barely expresses any individualism at all.
deliberately move. By putting the ensemble in front of the individual musicians is related to the pop and chamber music – but also to cooljazzen, with its smooth, oaffekterade rhythm and välregisserade harmony.
even when the Danish quintet goes as far in the opposite direction and let in a little spräckig free jazz, it is as if it fell within the framework of a comprehensive plan, where everything ultimately falls back on the gruppsoundet and kompositoriska lines. Even other styles of passes, but overall the music is, as soon as a kind of stylization of his own composition, as well as one of the interim targets in a specific, controlled stages.
but often move across the border for what one might call the for – and background music. The latter in combination with the band name naturally leads to the idea to Brian Eno and his album ”Music for airports”.
But it’s really nothing special ambient with Girls in Airports music. It is more about things often is so subtle that the listener must make in proportion to how some musicians seem to take in. It may be lost; one feels nothing. But from time to time, it is also the right gorgeous in his rest in timbre and rhythm.
Read more music reviews by John Cornell, for example, about Johan Lindström’s way to play at the understatement.
