Lineup: Iain Ballamy (saxophones & electronics), Thomas Strønen (drums, percussion & electronics) plus (at times) guest musician
Gábor Simon Konzertagentur represents FOOD worldwide.
Available on request.
“A magical hybrid of technology and improvisation, ambience and dance.” (BBC Music Magazine)
“[…] full of rich textures and colours with a unique blend of electronic and acoustic sounds.” (The Jazz Man)
Groundbreaking, stimulating and thought-provoking, FOOD have internationally toured since their first concert in 1998, creating their own universe of improvised and textural music of great depth and beauty.
The core of FOOD is Thomas Strønen and Iain Ballamy, who perform as a duo or with like-minded musicians such as Christian Fennesz, Nils Petter Molvaer, Eivind Aarset or Jim O’Rourke. And now also with young exceptionally talented Hilde Marie Holsen from Norway on trumpet and electronics, or with Italian trombone genius Gianluca Petrella.
Known for their innovative, original, always forward-thinking approach of contemporary music making, FOOD use sound, space, texture and contrast to conjure up magical atmospheres and environments which their compositions and improvisations beautifully evolve in.
Playing acoustic elements including bells, blocks, gongs combined with lyrical saxophones, the music is enhanced and tempered with live sampling and drums to create a sublime, mesmerising dramaturgy of varying moods, which can range from dreamlike minimalism to very turbulent complexity, “vibrating - as illustrious critic John Fordham (The Guardian) wrote - with irresistibly fascinating detail and visceral excitement.”
FOOD released their eighth record in total and third (with fantastic Christian Fennesz featuring on guitar & electronics) for ECM Records in November 2015. And are ready to enrapture audiences all over the world. Either as a duo or with special guest Toben Snekkestad (sax, electronics), Hilde Marie Holsen (tp, electronics) or Gianluca Petrella (tb, electronics).
Food: expect the unexpected. Strønen's production process distills the band's improvisational flights into compact pieces—not quite traditional tunes, but almost.
(allaboutjazz.com / Mark Sullivan, Nov 2015)
The album is the most groove-driven, performable, and accessible record in Food's catalog.
(allmusic.com / Thom Jurek, Nov 2015)
“This is not a miracle”. Not a miracle? Norwegians have always liked understatements. The duo of drummer Thomas Strønen and British saxophonist Iain Ballamy have never been as good as on this CD. […] Food offer endless spaces for associations, now close to jazz, then again anchored in the electronica sound of the ’70s, often searching for the unheard, and finding it, too. This CD changes its coordinates at every listening; it sounds new and surprising each time. Jazz as an option, as a choice and a means, not as a style. This is real music for the 21st century.
(eclipsed / Wolf Kampmann, Jan 2016)
There is a way between improvising and tinkering in the studio, between Iain Ballamy’s jazz themes and Thomas Strønen’s beats & sounds. Not for a long time has that way given such great pleasure as on “This is not a miracle”. Which is, after all, a miracle.
(ndr / Ralf Dorschel, Nov 2015)
[The drummer…] has created a fascinating futuristic fresco with Blade Runner atmospheres, marked out by refined synthetic texturing and constant attention to detail and by a consummate sense for dramaturgy.
(Jazz Mag Jazzman / Pascal Rozat, Nov 2015)
Food have a particular way of creating space, not only between instruments but a kind of hinterland stretching out around them, filled with light and shadow, matt surfaces and gloss, watery reflections and skidding, gossamer clouds.
The often slightly dreamy feel is broken up with grooves which come and go, as well as the occasional sudden, dramatic turn of a corner and into a new mood and scene, and the whole thing has the multiple atmospheres and interweaving stories of a strange but inexplicable movie, a movie for which the listener has no trouble creating his or her own images.
(thejazzbreakfast.com / Peter Bacon, Nov 2015)