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"This heady collaboration relies on Mori’s delicate electronics, blended immediately and with great precision with Rønn’s resourceful electro-acoustic sounds. His sonic palette embraces psychedelic-spacy trips, almost transparent and silent sine-waves, grit distortions and prepared piano. Mori and Rønn let their free-form, free-improvised interaction to settle naturally, attune and resonate to each other’s personal manipulations of machine-made sounds and their senses of time and space."

-Eyal Hareuveni (The Free Jazz Collective)



Battleship Potemkin - New Score - DVD



Politiken / Søren Vinterberg

6/6 hjerter, Søren Vinterberg, Politiken.

“…et hyperenergisk og helt fantastisk stykke arbejde, der hårdt og kontant knalder samtidige filmmusikproduktioner i sænk, som var det joller mod hangarskibe... har ganske enkelt formået at trylle lyden af revolution frem i en stum revolutionfilm, med et soundtrack der stilmæssigt nærmer sig The Dust Brothers' ”Fight Club” og Clint Mansells ”Requiem For a Dream”, men som stadig er helt sit egen.”


Berlingske Tidende

“…brummende og brølende elektronisk musik, der er decideret moderne i sit udtryk, men som alligevel.... passer forbløffende loyalt til de gamle billeder og flot styrker deres skiftende stemninger.

….højdramatisk og medrivende værk.

“Sjældent har både billede for sig, lyd for sig og billede og lyd sammen i dén grad både strittet i forskellige retninger, men også samlet sig i et fælles udtryk…En sjælden synæstetisk totaloplevelse…lige fra første guitarriff til sidste hule trommeslag, en uforlignelig oplevelse. På én gang et angreb på og en leflen for sanserne.... 

Se den! Og gerne flere gange. Kollisionen er aldrig helt den samme.”

….sanselig totaloplevelse. Pansers energiske lydbillede, som i øvrigt er anbefalelsesværdigt i sig selv, er nøje tilpasset Eisensteins dramaturgi og sammensmelter derfor som en naturlig del af den 65 minutter lange stumfilm. "



Eng Agger ( Camberwell College of Art London):

“The soundtrack composed in 2007 was powerful and noisy but also poetic and silent. The music, the editing, and compositions were overwhelming, present and relevant.”


Broken Air (LP/Dig) (Insula/Flinc Music)

“…this music is so good… So good that when I listened to it on a pair of borrowed headphones I really seem to lose the plot… I mean, I lost my way of reality, being completely sucked into the music that grew from reasonably music-wise, into an abstract soundscape that somehow came out of nowhere, but did this coming-out-of-nowhere so well… It really made me feel like the music had played a trick on my mind, making it first at ease thinking it is just someone playing the organ and some additional electronics at home, thinking nothing of it & than suddenly throwing me off guard by opening all these outer space zones that you would never expected to hear when you see the picture that this music had been promoted under.

Holy smokes, the LP took my mind on a spectacular ride, somewhere over spacious auto-bahns, manic slides of wonderful manic depths, frantic fingers and elbows on keys making more the sounds of spaceship movements that go through spiral tunnels of an unknown kind than someone playing a jolly good old human organ hit! ....! It’s intense, super psychedelic and oh so good!.... Seriously; what a trip!”

Kai Nobuko (Yeah I know it sucks)


Avant Music News - Vital Weekly

The broken air mentioned in the title is (maybe) the air used in the church organ of Søborg Kirke in Denmark, where Rønn recorded a concert that is the basis of the three pieces on this LP. This is Rønn’s second LP, following ‘Time Charged Maneuvres’ (see Vital Weekly 1010), which I thought was somewhere ‘within some middle ground of dark ambient, electronic pop, psychedelic music, a bit of drone and is made with delicate touch of improvisation’, which is not what I think about this new one. 

Here we have the church organ, along with a ‘MFB semi modular synth’, granular sampler, effect devices, guitar amp and contact microphone and objects. Less pieces here, which may mean more emphasis on the development of a piece and perhaps making this more complex? The whole work seems to me at least bit noisier than before, especially the side long ‘Diffusion 2’, which reminded me very much of the original musique concrete composers, with church organ sounds and many deviations 

there. Quite a tour de force this side, with a fresh amount of energy going towards the listener.

The two pieces on the other side are less forceful and not as noisy, but in a similar musique concrete mood. Partly played live, it seems, which adds an element of random organ stabs to the music, but that also adds to the vibrancy of the music. The mood is overall a bit dark, but the sound also has something quite overwhelming. As a whole I thought this album was much coherent and more conceptual and it worked very well. (FdW)


Dennis Tyfus - Ultra Eczema

"...A gorgious church pipe organ dragged through some electronic machinery! sits well next to Aine O' Dwyer's 'Music For Church Cleaner's' lp from a few years ago)"


Blind Man´s Band (Cassette) (Insula Jazz 2017)

"The trio Blind Man’s Band - keyboards player Christian Rønn, bass player Claus Poulsen with French drummer Kevin Angboly - comes from the bubbling experimental-underground scene of Copenhagen. This improvising trio is influenced by the punkish spirit of Dutch group The Ex and Japanese drummer Tatsuya Yoshida's prog-rock outfits. Blind Man’s Band self-titled debut cassette was recorded in Copenhagen on June 2016. The seven short pieces offer colorful, extreme sonic clashes. The three fearless musicians sound as enjoying chaotic interplay that is always on the verge of a noisy meltdown, skyrocketing as fast as possible, head-on to the most intense, psychedelic mode possible."

"Det starter et sted, hvor Miles Davis er forsvundet i junken, som han var alt for gode venner med i 70’erne. Der er ingen kære Miles længere. I stedet er der en grum omgang larmende fri improvisation, hvor der slås nogle mentale buler i lakken. Trioen Blind Man’s Band består af Christian Rønn på keyboards, Claus Poulsen på bas og Kevin Angboly på trommer. De er alle tre erfarne herrer fra den københavnske noise og improv scene. Hvor det starter ud i et dystert afsporet free funk spor fortsætter de i et mere noiseomklamerende univers. Det er musik der hører til omkring københavnerspillestedet Mayhem.


På dette kassettebånd folder de et net af løsladte toner og klange løs. Rønn’s keyboards serverer forvanskede lyde, der vrides og klemmes. Poulsen brummer løs på bassen i et emotionelt skræmmende tempo. Angbolys trommer tager sig en masse friheder. Trænger du til at få ryddet op i sindet? Så skal du ikke høre Blind Man’s Band. Ellers kan du godt forsøge. Jeg blev slemt fornøjet over deres heftige niveau."







Chordis et Machina - LP - Christian Rønn / Ikue Mori (Resipiscent/Tonometer/Nische)


"The fusion of ecstatic electro-acoustic and other worldly sensibilities draw some resemblance to Cecil Taylor’s out-of-body playing, but here in the hands of Mori, accompanied by Rønn’s steady electronic manipulations it’s in a brand-new tongue. It’s as though the Phantom of the Opera’s afterlife has risen."[...] . This record leaves your senses tense, salivating, wanting…." -TJ Norris ( (Full Review)


“Endless probing that hooks into your neurons, this album leaves sonic organisms floating around you. Even if that's merely an illusion, the alchemy of Mori and Rønn’s hyperactive stew is very real.” -Marc Masters


"Det ekspressive og meget personlige udtryk, der hovedsageligt skyldes den improviserende tilgang, indvarsler en modpol til en ellers fremherskende tendens i den eksperimenterende elektroniske musik til at distancere sig fra det elektroniske lydmateriale. Hos Mori og Rønn er det tværtimod nærværet, der er det kendetegnende."

-Jakob Gustav Winckler ( (Full Review)