Peder Simonsen is for some known previously for his work with the pioneering microtonal tuba-trio Microtub, particularly the «Chronic Shift» reworks from 2019 where he introduced his modular synths and studio techniques juxtaposed with the microtonal brass sounds. In 2022 the group are set to premiere works by Ellen Arkbro and Catherine Lamb, two collaborators who he regards as strong influences.
Having had a varied career both as a performer sound artist and as a studio aficionado, Simonsen’s work has taken him all over the world, touring with groups such as Brainfeeder’s Jaga Jazzist, the Trondheim Jazz Orchestra with Anna Webber, and his own Microtub. He has presented sound installations all over Norway, and his work is to be found in the collection of KORO, Norway’s national body responsible for art in public space. Equally at home in the recording studio as on stage, he runs the music department of the artist residency Palazzo Stabile in northern Italy, and his sonic footprint is to be found in various records from the exciting Norwegian label Hubro like Stein Urheim and Jo David Meyer Lysne. He has also worked with underground Chinese punk band Dirty Fingers, and legendary Swedish rockers Bob Hund.
‘Repetitive Rhythm’ is the new record from Simonsen out on Ace Tunes. It documents his sonic explorations in the studio between 2015-2020, and features 3 long form compositions based on pattern repetition.
1. Curiosity is important.
2. There are more musically useful sounds than the tempered tuning system leads you to believe.
3. What kind of snare drum sound you like will change with time, but that’s okay.
1. What is the biggest inspiration for your music?
Time, attention, perception and spaces.
2. How and when did you get into making music?
I started playing in the school marching band as a kid, and it just kinda grew from there.
3. What are 5 of your favourite albums of all time?
Oren Ambarchi – Grapes From The Estate
George Harrison – All Things Must Pass
Alice Coltrane – Ptah The El Daoud
Eliane Radigue – Triologie De La Mort
Aki Takahashi/Kronos Quartet – Piano and String Quartet (Morton Feldman)
4. What do you associate with Berlin?
An inspiring experimental music community, modular synths, close friends, and some weird level of alienation and strangeness that I kinda like.
5. What’s your favourite place in your town?
I’m not sure really, there are so many nice places. It depends on the mood I’m in, but could be either the sauna by the sea, Bygd¿y, my gym, my studio or one of the many bars I like.
6. If there was no music in the world, what would you do instead?
Read more, I think.
7. What was the last record/music you bought?
Scholz plays Otte and Cage by Kristine Scholz
8. Who would you most like to collaborate with?
There are so many people I’d love to work with! Any of the people from my top 5 album list? Recently I’ve had a great time working with Jo David Meyer Lysne, so I guess more of that. Also looking massively forward to working with Ellen Arkbro and Cat Lamb as part of Microtub.
9. What was your best gig (as performer or spectator)?
Joe Davolaz in a bus in Stockholm, I think it might have been around 2011.
10. How important is technology to your creative process?
Absolutely essential. Technology comes from creative people having ideas and exploring them, and ideas and artistic creation using any of these technologies feeds back into the process by generating ideas and needs for creating new or different technological tools and improvements. This applies both for working brass for an acoustic instrument or programming, or whatever. It’s a circle of ideas and creativity. I also would like to add that I feel indebted to the people who code music programs. Thank you.
11. Do you have siblings and how do they feel about your career/art?
I have two brothers, they are both interested in music and art and one of them is also a professional musician. I think they are both supportive in different ways, and I think we learn a lot from each other.