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Hilde Marie Holsen: Ask

HUBROCD2562
HUBROLP3562
Release june 2015
 

 
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The LP edition is now sold out
 
Impressive album from adventurous young trumpet and electronics improviser Hilde Marie Holsen, who also plays in the bands Chrimari and Hå!Olsen. Hilde Marie hails from Vassenden in Jølster but resides in Oslo. This is her solo debut release. The music can be described as quite contemplative and drenched in melancholia, but there is also room for noise, great dynamics and plenty of drama. Available as DL and in a LP edition limited to 200 copies. Be quick! The album was co-produced, mixed and mastered by Maja Ratkje.

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Reviews:

  1. Właśnie pojawił się nakładem wytwórni Hubro debiutancki album Hilde Marie Holsen. Przyznam, że wcześniej nie znałem nagrań tej norweskiej trębaczki, improwizatorki i kompozytorki. Wiem tylko tyle, że Holsen udziela się też w dwóch innych projektach: Chrimari i Hå!Olsen. Winylowe wydawnictwo „Ask” to jej pierwszy długogrający materiał, na który złożyło się pięć utworów. Jak sami wydawcy podpowiadają, muzyka Holsen jest mocno zanurzona w kontemplacyjnym i melancholijnym klimacie, choć artystka nawiązuje również do noise’u („Korund”). Jednak na mnie największe wrażenie zrobił kapitalny fragment „Plagioklas”, gdzie mamy bardzo świeże połączenie brzmienia trąbki z elektroniką (blisko Arve Henriksena czy Nilsa Pettera Molværa). W dronach Holsen jest coś takiego, co jednocześnie inspiruje i wprowadza w pewien rodzaj ekstatycznego transu („Alkali”) – dostrzegłem w tym utworze także jakąś drobną cząstkę Milesa Davisa (to może przez ten tłumik w trąbce?). W „Muskovitt” warstwa instrumentalna znakomicie oddaje nastrój mruczącego, kołyszącego się i uśpionego lasu – czuć też ukłon artystki w stronę tradycyjnej muzyki skandynawskiej, lecz przepuszczonej przez współczesne eksperymenty. Zaś w tytułowym „Ask” delikatne sola trąbki w ciekawy sposób korespondują z elektroniką z pogranicza ambientu. Płyta „Ask” idealnie ochładza atmosferę, ale nie wystudza emocji, wręcz utrzymuje je w stanie niepewności i przyjemnego napięcia. Hilde Marie Holsen pokazała, że wypuszczane powietrze z trąbki (czyt. dźwięki) może być wyjątkowo lekkie, powabne i odkrywcze, tym samym twórczość Norweżki zdecydowanie odcina się od wielu typowych i bezbarwnych przedsięwzięć, jakie często spotykamy.
    - Nowamuzyka (PL)

  2. La trombettista norvegese Hilde Marie Holsen avvia i progetti – tutt’oggi allo stadio embrionale – Chrimari, con i 13 minuti di “Third Eye Opening”, sorta di estrema trasfigurazione del cool-jazz, e Ha!Olsen con il bozzetto per tromba riprocessata “Favorite Position”. Nel frattempo, comunque, Holsen debutta solista con “Ask”, un lavoro di umile artigianato d’avanguardia e di sentimenti profondi. Ci vogliono 4 minuti di eventi praticamente inudibili, tra bollori e ultrasuoni ridotti al minimo, perché “Plagioklas” intoni un pacato, elegante, rarefatto adagio Bruckner-iano per tromba e frequenze basse. Il suo sviluppo, appena un timido contrappunto, non fa che rivelare la sua consistenza di fantasma freddo che si smaterializza ulteriormente in rivoli elettronici, una perfetta base strumentale per un nuovo “Rock Bottom” Wyatt-iano, solo per essere polverizzato da una deflagrazione finale. La più breve “Muskovitt” è solo un soffio di sordina strozzata, un flauto di Pan nella sua ultima esalazione. Negli 11 minuti di “Alkali” gorgoglii ciclici e fanfare che risuonano nel nulla provano a infondere un po’ di vita al fraseggio sospeso, ma si spegne senza direzione o, meglio, senza più forze, preda della landa d’echi. Sono soprattutto gli 8 minuti della title track a creare un contrasto, sempre sussurrato e sommesso, tra mostruoso (un glitch satanico di sottofondo) e celestiale (le trapunte di tocchi ed echi della tromba rifratta). Jon Hassell disperso tra i fiordi più gelidi e disabitati. Non è un album di musica rarefatta ma un esercizio d’arrangiamento del silenzio che ne preserva, come fossero specie in via d’estinzione, il mistero, l’ineffabilità, la vertigine. Da ammirarne anche la volontà estrema di mezzi, solo strumento, una tromba che Holsen spesso accarezza con le labbra, e un corredo di live electronics digitali, un’unità con pochi precedenti creativi (come gli album per sola voce della connazionale Maja Ratkje, che non per niente ha curato missaggio e master).
    - Ondarock, Michele Saran 7/10 (IT)

  3. Von uns wird ja niemand dereinst von Engeln fortgetragen werden. Aber so in etwa hätte man sich das wohl vorzustellen. Vielleicht hat uns hier eine Lawine erwischt oder einfach nur der blanke Hunger. Jedenfalls kocht uns jetzt das Blut in den Ohren, reißender Wind nimmt uns den Grund unter den Füßen weg, der Blick dreht nach oben. Bald stehlen sich von irgendwoher säuselnde Melodien ins driftende Bewusstsein. Verdammt nah ist das Flugzeug schon, das nach uns sucht, genau mittendrin im Schädel. Diese kusswarmen Töne, die unsre Reste aufsammeln, die kennen wir doch, was war denn das für ein Instrument? Ganz bekannt, es spielt Jazz, klingt hier ein bisschen nach Jan Garbarek, freie Klage in melancholischer Weite, aber mit so monströsem Bass? Dann singen wirklich die Engel, geisterhaft choral, so richtig glücklich sind sie mit uns nicht. Schade. Jetzt müssen wir doch auf dem Beiblatt nachschlagen. Ach Mensch, Trompete natürlich! Und dazu elektronische Klanghexerei, ganz offenbar eine mit allen Weihwassern gewaschene. Fünf Stücke, alle live improvisiert von einer jungen Dame namens Hilde Marie Holsen, im Studio an der Akademie in Oslo. Was heute nicht alles geht! Lediglich die kleinen Kohlebröckchen, die das finale Titelstück »Ask« zwischen den Ohren hin- und herschaufelt, die müssen Hilde Marie Holsen im dortigen Medienfriedhof auf einer alten Minidisc untergekommen sein. Aber das ist ja kleinlich, angesichts des himmlisch schwerelosen Irrgartens aus samtweichem Metall, den sie darüber ausbreitet. Wie aus großer Höhe, von jenseits der Wolken, blicken wir hinab auf wegbröselnde Landschaft, in der menschliches Treiben und ursprüngliche Ödnis ununterscheidbar werden. Und wer weiß, vielleicht steckt in »Ask« (norwegisch für: Asche) tatsächlich auch ein Gruß an Charles Ives’ endzeitlichen Trompetenklassiker »The Unanswered Question«.
    - HHV Mag, Peter Gebert (DE)

  4. It kind of spoils the spell to reveal Ask, the debut album from Oslo’s Hilde Marie Holsen, as being wholly formed of live improvised processed trumpet. Recorded at the Norwegian Academy of Music, the album displays both an intensity and charm far beyond the image of a trumpet and laptop. Opening with brief, startling layers of engine-like textures that harden like the mineral (Ruby) its title references, the first side continues with two longer pieces also named after minerals as if to suggest some kind of geologic process. Throughout, the trumpet’s lead is nested in a transformative process that expands but never intrudes. ‘Plagioklas’ pairs a solemn, slow horn theme with a hopeful bed of pleading treated tones, as wisps of breath circle until an effervescent burst, neither brass nor electronic, climaxes. ‘Muskovitt’ feels even lonelier, its spare, cool cries receiving nothing in reply apart from tender, subtle low end ambience, while the title track follows the same strategy but turns the preceding loneliness around with a sense of wonder. Its lead melody no longer needy, its accompaniments just small movements and distant tones, they take time to inspire each other into exploring their emergent sound world. Perhaps not as much geologic as alchemical, there’s an uncanny dimension Holsen somehow sculpts throughout Ask’s 45 minutes – kind of blue, but kind of other – that tenderly and masterfully attends to both melodic and textural dimensions to form a sublime sensual sound.
    - The Quietus, Russel Cuzner (UK)

  5. From the wee Norwegian label Hubro, which has housed excellent avant-jazz talents such as Moskus, Huntsville and Splashgirl, is this new release from trumpeter Hilde Marie Holsen, who also uses electronics to sketch out her odd landscapes. In this piece, a trumpet improvisation emerges out of twitching static as if picked up by a radio held up to the sky on an icefield. Holsen’s wandering melody is utterly wondrous, and met halfway through by an electronic tone that mirrors it exactly, then strays on its own course – eventually both are caught in an apocalyptic smudge of noise. Exceptional, and there are only 200 vinyl copies, so don’t sleep.
    - The Guardian, Ben Beaumont-Thomas (UK)

  6. Ask is a provocative set of trumpet-based improvisations from Hilde Marie Holsen (b. 1989), who hails from Firda but resides in Oslo. Ask isn’t, however, a collection of unadulterated horn solos; instead, Holsen explores the interaction between trumpet and live electronics on the thirty-six-minute release (available as a download and in a vinyl edition of 200 copies), with the electronic sounds the product of live trumpet processing. Co-produced, mixed, and mastered by Maja Ratkje, Ask, an oft-contemplative blend of short and long pieces, is Holsen’s solo debut release.

    The brief “korund” acts as an effective scene-setter when its industrial drone content includes nothing that could be remotely identified as a trumpet, while the later “muskovitt” finds the horn moaning like some dying animal. But it’s “plagioklas” that is side A’s centerpiece, both literally and figuratively, in the way it monitors Holsen’s explorations over the course of eleven minutes. In this extended setting, the trumpet is transformed via electronics into spectral presences while also appearing in its natural form. Murmuring softly, the horn exudes a lonely quality, and in one striking sequence, the trumpet’s lines are shadowed by high-pitched, synth-like whistles in a way that’s unexpectedly moving. Ask rises to an even ghostlier level during the mournful “alkali” when Holsen’s purring musings are heard against swells of supplicating, string-like expressions, while the closing title track collapses the distance altogether between the trumpet and electronic elements.
    In its general approach, Holsen’s album calls to mind Lester Bowie’s double-album set All the Magic / The One and Only (issued in 1983 on ECM). Thirty years before Ask, the late Art Ensemble of Chicago trumpeter dedicated the second half of that release to solo trumpet experiments, some of which involved him playing into a well-tuned piano and seemingly into water, among other things. With her arsenal of sound possibilities bolstered by electronics, Holsen perpetuates the bold experimental tradition associated with Bowie’s recording on her own adventurous outing.
    - Textura (CA)

  7. Das wunderwolle Label Hubro präsentiert mid der bisher weitgehend unbekannten Trompeterin Hilde Marie Holsen aus Oslo eine weitere grandiose Entdeckung. Aufgewachsen ist Holsen In einem kleinen Ort inmitten der selbst für norwegische Verhältnisse dünn besiedelten Fjordlandschaft zwischen Bergen und Trondheim. Das konnte de bezaubernde Entrückheit und dezente Melancholie ihrer auf 200 Stück limitierten Debut-LP (die es aber auch als DL gibt) erklären. Könnte, wäre da nicht auch eine unglaubliche Radikalität und avanciertes PionierDenken in Holsens Art, die Klangfarben der Trompete mit elektronischen Mitteln zu brechen und zugleich wirkungsvoll zu unterstützen. Schon der nur 1:25 Min. lange opener mid dem sehr treffenden Titel “Korund” bringt das Prinzip auf den Punkt. Oft swhr leise, fast zaghaft – dann aber auch brachial und mit Mut zum Geräusch wird hier sehr weit nach vorn gesaught. In eine mögliche Zukunft improvisierter Musik. Sensationell!
    Westzeit, Karsten Zimalla (DE)

  8. Dopo un’introduzione di novanta secondi, Korund in cui Hilde Marie Holsen (Chrimari, Hå!Olsen) mostra gli artigli grattando via la ruggine dal permafrost, la seguente Plagioklas mostra tutta fantasia della musicista norvegese: il brano parte in sordina, quasi un drone proveniente dalla calotta polare, prima che la tromba della Holsen cominci ad illuminare l’atmosfera con una lenta fanfara circolare; l’atmosfera rimane cupa e avvolta in una sorta di nebbia elettronica anche quando la tromba si libera in un assolo ricco di pathos. Altrettanto seducente la lunga Alkali sul lato B, che porta le navi fantasma di Jon Hassel dentro i fiordi del Mare del Nord. Chiude la scaletta l’omonima Ask, sette minuti di Magia Artica
    - Rockerilla, Roberto Mandolini (IT)

  9. Heavy skies that turn from the beautiful to the devastating; Ask is the immersive solo début of young Norwegian trumpet player Hilde Marie Holsen. It’s a good five minutes until the first recognisable trumpet sounds arrive, such priority is given to the distinctive voice swirling around inside the electronics. Even though combining solo trumpet with the latest software is not new to me, there is a clear musical intent to Holsen’s heavy processing that she uses to surround, modify and merge with her minimalistic horn playing. Holsen’s trumpet gets radically expanded through her command of software, and whilst the options and variations are staggering, the honing in seems to be well under way. There is little about this that feels random, a side effect that can overtake much of improv that combines the freshest technology with extended techniques of instruments, often resulting in a display of sonic fireworks: fun for the performer but leaving the listener feeling told nothing substantial, and less personal. Holsen, on the other hand, has thrown open a door to a sonic world that evidently belongs to her and not the tools. Despite the full range sonic colour spectrum, each layer contributes to a striking picture whose tones hit me like the dark shine of wet black rocks amidst a rainbow of northern grey. My mind slowly drifts through a cloudy, staggeringly dynamic horizon: moody in hues, rich in ghost-like cloud forms, foreboding and bewildering. Inspiring nonetheless, but usually the weather everyone complains about. Some feel totally OK in it though, and perhaps Holsen does too. From heavily distorted drones to the soft clicking of the trumpets valves. Abstracted breath noises bent out of shape into some new creature, born and running off into its new life. The sound of distant thunder and falling rocks, wailing sirens and a profound, sub-aquatic low end. As a soloist Holsen really delivers the full palette. Maja SK Ratkje’s presence on the record can be felt and her mixing and mastering really brings the many dynamics and voices into view, amplifying the subtle inflections of breath close to the ear whilst strongly projecting the records atmospheric sub-bass depths. On “Plagioklas”, Holsen sets up a landscape of these differing sounds and then settles into an exploration of some select moody notes, back and forth, forth and back, layering and towering them up over each other until flattening them with a powerful bass drone that rises up from the delirium into a searing mass that sounds more like a distorted tuba. On “Muskovitt”, perhaps at the record’s darkest core, a haunting flute-like melody somewhere between Norse and Arabic folk floats above a swimming and crackling murky bass swell, calling out some notes as if waiting for a response amongst the brooding haze. Occasional rays of light break through the thick swirling sky, such as on the closing title track where Holsen puts us down gently after the absorbing twilight trip. Ask is a short LP, yet deep and plentiful: indeed its heaviness and stillness, like each improvisation, is a vivid experience.
    - Freq (UK)

  10. Ask is the debut album from Norwegian trumpeter Hilde Marie Holsen. Operating in a world not too dissimilar from the more local Sean Mac Erlaine, her recordings consist of improvised performances of trumpet and live electronic processing of that same trumpet.

    At just five tracks, Ask feels like a short album. Though it is certainly concise, it unfolds slowly – growing from rattles and breaths through to beautiful melody at an assured, unhurried pace. Throughout the long build of ‘plagioklas’, what begins as low, looming sounds gradually becomes more complex, reaching upward until three melodic lines twist around each other, one trumpet companioned by two thin, electronic sounds, like toy keyboards enjoined in something sacred. It’s a strangely epic movement, always lifting upwards but its pacing, its mixture of confidence and vulnerability, makes it seem not forced but rather warmly surprising.

    “muskovitt’ comes as a short break between two much longer tracks, but it contains a microcosmic version of the album as a whole. It’s gentle in a way, maintaining that low drone that pervades so much of the record, but the trumpet feels like it has a reserve it can draw on whenever needed, like it’s testing its own power against self-inflicted restraints. It breaks up at the edges, never allowed to resolve into any kind of serenity.

    It’s this to-and-fro between the unease often latent in the electronic manipulation of Holsen’s instrument, a sort of uncanny echoing effect that sees the original sounds reappear as ghostly distortions and lingering distentions, and the beautifully golden peal of the instrument’s direct hits that defines the album. It reaches its peak on the final track, ‘ask’. Here the gloriously cool sound of the trumpet, suspended over a shifting sea of glitches, hums, buzzes and echoes, seems to ride those waves joyously. It feels so free, it’s almost effervescent in places. There’s always this undercurrent of melancholy, but it’s the kind which makes joy, clarity, happiness all the sweeter for its presence, which transforms the simply beautiful into the sublime.
    - Thumped

  11. The debut album of Norwegian, Oslo-based trumpeter blurs the sonic distinction between human breaths, trumpet sounds and weird sounds and noises produced from real-time processing of the trumpet. Holsen recorded five contemplative free improvised pieces, four of them named after minerals, at the Norwegian Academy of Music in Oslo, all mixed and mastered by Maja S.K. Ratkje. The album is available in a limited-edition of 200 vinyl copies and in a download formats.
    The pieces on the first side vary from the cold drone of the brief industrial opening of «korund»; through the multi-layered, nuanced «plagioklas», where the serene, lyrical playing of the trumpet soars over a subtle bed of noises, slowly morphing into a singing ambient tone that brings to mind the sonic territory of Arve Henriksen; to the minimalist «muskovitt» where distant solo calls of the trumpet sketch a spare narrative. The second side begins with the long «alkali» that revolves around the sound of the trumpet, played live, processed and sustained, until all sonic reflections of the trumpet gel into a disturbingly quiet. autonomous sonic entity. The last, title-piece offer a melancholic lyrical theme that slowly surfaces and multiplied over a distant drone of subtle noises, sometimes surrendered to the noisy atmosphere but finally finds a balanced common ground..
    Throughout these improvisations Holsen plays with impressive, focused command, creating a highly personal musical universe.
    - Salt Peanuts, Eyal Hareuveni

  12. Ask ist das Solodebüt der jungen, in Oslo lebenden Trompeterin und Elektronikerin Hilde Marie Holsen. Produziert und gemastert hat die Platte keine Geringere als Maja Ratkje. Es handelt sich dabei durchwegs um eine ruhige,feinsinnige,
    komplett unspektakuläre Musik. Von den „great dynamics“ und „plenty of drama“, die uns der Waschzettel des Labels weismachen will, kann freilich keine Rede sein. Die wurden mutmaßlich an den Haaren der Trompeterin herbeigezogen. Frage
    nicht. De facto haben wir es mit Ask um ein (auf 200 Stück limitiertes) vinyl zu tun, das von vorne bis hinten von kontemplativer Atmosphäre erfüllt ist – und dessen zwingende Notwendigkeit sich dem Rezensen – ten dennoch nicht recht erschließen mag.
    - Freistil (AT)

  13. Hilde Marie Holsen ha un suono diverso. Sembra che quando qualcosa si faccia sentire da là, uno strato di gelo si sedimenti su quel qualcosa. Ma questo gelo può anche essere luce, chiarore, pulviscolo, qualcosa che brilla di più e custodisce il contenuto, come pietre preziose, che valgono nella misura in cui custodiscono una propria struttura interna perfetta. Ebbene, continuo a credere nella mistica del suono e quando ci si trova davanti ad un disco come Ask (può essere il verbo inglese, e quel qualcuno che chiede sembra essere proprio la Nostra) il creato (qualunque sia e chiunque l’abbia creato) risuona, non fa che ripetere la propria voce, anzi, presta solo la voce ad un senso già lampante. Eppure il linguaggio per esprimerlo è così distante che pare necessario interrogarlo, poiché è un linguaggio che non parliamo più. La tromba di Hilde Marie Holsen funge da corno da richiamo dopo i due momenti elettronici di Korund (cordinone in tedesco, minerale che si presenta “in tutti i colori. La colorazione dipende da elementi chimici cromofori, che tuttavia non alterano la sua composizione chimica”, e proprio il suono della traccia è di per sé embrionale, terragno, grattato, ancora formantesi). Traccia che va ancora più nel profondo con Plagioklas (Plagioclasio, un minerale anch’esso, facente parte dei feldspati che costituiscono circa il 60% la crosta terrestre). Come vedete, a testa alta, siamo pur sempre ancorati a questo mondo, che continua a farsi sentire, nono solo come sentimento, ma anche per la scelta delle “strutture” dei pezzi, dalla loro fenomenologia. Si veda anche come in muskovitt (“muscovite”, minerale, silicato con cristalli costituiti da impacchettamenti di strati t-o-t (tetraedro-ottaedro-tetraedro)la tromba suoni come un flauto, sostenuto da bordoni di basso orchestrali, richiamanti un Britten sognante, quasi un’invocazione, quasi una serenata. Alkali (alcali, idrossido di metallo alcalino) si mostra in tutta la sua forma marina: fiati simili a sirene in perfetto dialogo con schizzi jazzistici in un accennato periplo di scale, connotate appena, con coro di sublima elettronici dal suono acuto (un coro di voci bianche sotto ring modulator, ecco cosa evoca). Ask si fa aerea (che è domanda, fatta al cielo), viene soffiata via come polvere (il soffio, elemento importante acusticamente per Hilde – e non solo, penserei: il Creatore soffia il pneuma sull’argilla per farla diventare uomo). Ecco che la terra ha così raramente cantato. Ma noi, di questo, ce ne siamo dimenticati.
    - Carnage News (IT)

  14. Hilde Marie Holsen spiller trompet som ingen andre. For meg kom den 26 år gamle trompeteren Hilde Marie Holsen fra Jølster i Sogn og Fjordane ut av det store intet med sin debutskive “Ask” for noen måneder siden. Jeg er eier av nummer 22 av 200 og Hubro kan melde om at LP-en er utsolgt, men at den er mulig å laste ned. Holsen har akkurat avslutta sin mastergrad på Norge Musikkhøgskole i utøvende musikkteknologi og bedre “eksamensbesvarelse” enn denne solodebuten er knapt mulig å levere. Med sin vakre og klokkeklare tone nydelig kombinert med utsøkt bruk av elektronikk, tar Holsen oss med på ei unik og høyst personlig reise som er improvisert live og som er miksa og mastra av Maja. S. K. Ratkje – ikke Rattkjelke som kulturministeren greide å kalle henne da hun åpna Ultimafestivalen her om dagen. Fem etapper på rundt 35 minutter tilsammen fører oss inn i en fabulerende, vakker og personlig verden.
    Hilde Marie Holsen har kommet for å gi oss mye vakkert i åra som kommer.
    - Tor Hammerø (N)

  15. Another welcome dispatch from the ever-reliable Hubro label, this time a small (200-)edition vinyl that I should hop on sharpish. Now it may just be a case of ‘right time, right place’, but having gone to the effort of putting on the vinyl (and yes, my day does consist of grander labours), listening to this music seems like the best decision I’ve made all week. Just electronics and trumpet go into this no-frills live recording and as is often the case with Hubro releases, all is generally well: a breathing tarpit of Arve Henriksen-style ambience that bubbles, boils and occasionally belches forth its corrosive innards. The atmosphere is deep and unassuming, though painted from a vivid emotional pallette. It passes ephemerally from one mood to another like something we might glimpse among Brian Eno’s 14 Million Paintings, albeit for a less public performance space. ‘Electronics’ tend to be utilised in maintaining the trumpet-born malaise, but subtle shifts and flickers in the corner of the eye help fortify the effect. Immersed in the sound, I get the feeling the familiar physical dimensions have been inverted. My sole disappointment arose upon realising that some ice cream van music emanated not from the record but from outside my window, making that particular listening experience unrepeatable albeit quite memorable.
    - The Sound Projector (UK)

  16. Trompetspeler en improvisator met elektronica Hilde Marie Holsen brengt haar solo debuutalbum uit als download en in een beperkte oplage op vinyl. Alle muziek op ‘Ask’ is geïmproviseerd en live opgenomen aan de Noorse Muziek Academie, en vervolgens verder de wereld in geholpen door het Hubro label, dat inmiddels een mooie catalogus heeft opgebouwd met acts als Hakon Stene, Frode Haltli, Cakewalk en Mats Eilertsen. Het geluid van Hilde Marie Holsen past naadloos tussen het werk van de collegaâs, waarin verstilling, vervreemding en ruimtelijkheid ook vaak een belangrijke rol spelen. De benadering van Holsen ademt transparantie en stuurt de ijle klanken van de trompet haast sacraal naar buiten, en al zorgt de elektronica daarbij vaak voor verfijning en sierlijke aanvullingen; het kan er daarmee ook soms hard aan toe gaan. Een vette bak herrie hier en daar gaat de jonge muzikante niet uit de weg, maar alles met mate. Met haar duo-project Chrimari komt ze met trompet en elektronica een stuk duisterder en noisier voor de dag, evenals met een vocaliste erbij in Hå!Olsen. Daarbij vergeleken doet ‘Ask’ haast poëtisch en dromerig aan.
    - Gonzo Circus (NL)