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" Tumult
har en spritny cd
"Kværn"
(gruppens anden) med til Tønder Festivalen,
og fra den får vi et par smagsprøver lørdag eftermiddag. Gamle danske skillingsviser i nye arrangementer, fortolket af frontfigur Jørgen
Dickmeiss, som både er en fortræffelig sanger og en livlig violinspiller. Og så får han kompetent backing af en gruppe, som ikke sparer på strømmen.
Fairport på fynsk (hvor
Tumult bor) .Næsten. "
Folk & Musik,
Oktober 2004, by Søren
Chr. Kirkegaard
" It’s as
if the four daring Danish
guys came with concerts
especially to confirm
the myth about free and
mad Christiania –
the bastion of anarchic
freedom in the middle
of the accurate Copenhagen.
Tumult’s music is
the one for intellectual
hooligans. Studying at
the Conservatoire doesn’t
impede Joergen Dickmeiss
– the leader of
the band – from
bashing out folk tunes
on the violin accompanied
by severe electric hardcore.
Dickmeiss sings too. Folk
songs turn into gloomy
hard rock easy and naturally." (translated from Russian)
Ezhenedelnij Zhurnal,
#5, 02/2002 weekly magazine,
Russia www.ej.ru
" For example, Denmark
– a truly Scandinavian
country, that occupies
rather a small territory,
may boast of having such
great amount of impetuous,
bizarre and insane musicians.
Among them can be found
those, who play folk tunes
that are generously mixed
up with modern energetic
music. ‘Tumult’
is one of those. Rhythm
section bashes straight
hardcore, fiddle leads,
and the fiddler goes to
the microphone from time
to time to sing some Sjæland
tunes about family life.
It turns you on like coffee
welded on spirit. Cavilers
should pay special attention
to the fact that the music
isn’t made by some
amateurs, but true professionals,
conservatory students
and nominees to the ‘best
folk project of the year’
in the Kingdom of Denmark." (translated from Russian)
Weekend, 02/2002
by Vladimir Borovoj, Russia www.weekend.ru
” Tumult has already
played several concerts
in Moscow in February
and become one of the
main club sensations of
the last winter.” (translated from Russian)
Moskovskij Komsomolets,
12/2002, Russia www.mk.ru
” Med sikkerhed mindre kendt end deres svenske fætre Garmana og dog har de her danskere mange pile i deres violin-bue. Stor performance ved 22. Kalaka Folk Festival i Ungarn. Og en med sikkerhed ny ingangsvinkel til fremførelsen af danske trad og nye kompositioner. Lederfiguren i gruppen er hjørnestenen Jørgen Dickmeiss og det er til ham vi henvender os for at spørge ham om grunden til lighederne med hans violinspil og Harald Haugaards, vores ven fra ældre dato. Svaret er slående... De har nemlig gået på samme musik akademi og kender hinanden godt. I realiteten er han en elev af Harald Haugaard, og forsøger at få samme umiskendelige touch på instrumentet. Dette lykkes meget fint og melodierne der kommer ud fra instrumentet får huden på hænderne til at skalde af i kådhed / delirium. Resten af gruppen ( Kasper Laursen Christensen på bas, Lars Frimodt-Møller på perc og Thomas Kristoffersen på elektrisk guiter) støtter ham i stor stil uden at drukne "vores" violin på nogen måde! . Ren fak tisk lykkes det gruppen - selv i de mere elektriske stykker - at forblive mere melodiske og overbevisende end Garmana.
Altså en ny opdagelse fra dansk jord - og en plade som med sikkerhed ikke vil skuffe dem som allerede er bekendt med grupper som Serras, Dug, Fenja Menja: Tumult fastslår sig som en ledende gruppe på den skandinaviske folkrockscene, og Danmark fastslår sig for 11. gang autentisk som smeltedigel / skaber af nye talentfulde grupper. Stor rytme, stor violin, ingen syntheziser til at sløre lydbilledet, som virker let og rent, som luften fra det høje nord... Der hvor toner virkelig er musik. Der hvor er en lovmæssighed at musikalitet og finesse smelter sammen.” (oversat fra Italiensk)
Etnobazar, 08/2001, by Loris Böhm, Italia www.etnobazar.it
”Gruppen Tumult gjorde indtryk med deres sprælske spillemandsrock med Thomas Kristoffersens fræsende elguitar som et meget iørefaldende element. Gruppen ledes af en af de mest dynamiske violinister på den danske folkemusikscene, Jørgen Dickmeiss, som tillige er en original sanger.”
Jyllandsposten, 06/2000 af Søren Chr. Kirkegaard.
”…til gengæld var der noget at glæde sig over på Friluftsscenen. To numre skulle der til, før debutanterne fra Tumult havde solgt sig selv til publikum. Men så var overgivelsen også total til et af festivalens mest dynamiske udspil, der spredte sig fra gamle skæmteviser til galoperende cow-punk udsat for elbas, trommer, guitar og fiol. Gruppens optræden fik ekstra krydderi af den selvbestaltede fanklub fra Lønborg Skole.”
Jydske Vestkysten, 06/2000 af Susanne J. Lassen.
”..hos Tumult stikker folkemusikken snuden i rock-lagkagen og ikke omvendt. Ingen problemer. De gør det stærkt, og det undrer ikke at appellen er stor hos det unge publikum – som i øvrigt er herligt talstærkt her i Tarm .”
Folk & Musik, 08/2001 af Nils Thorlund.
“ Ethnic music
has a broad definition…It
is customary to assume
that this music has got
to be ”authentic”.
So it is wonderful to
see this opinion refuted,
not by home-grown musicologists
but by the music itself.
The strongest example
of music speaking for
itself that Moscow has
ever seen was the recent
concert of the Danish
quartet Tumult. Its style
can hardly be described
in two words, I would
say, can hardly be described
at all. But it is also
ethnic music! It is always
very interesting to see
various groups with their
own undestanding of what
it is. In Russia, musicians
often take the trouble
of reaching the ”really
traditional” sound,
but out there people make
art, express themselves
freely, and tradition
is not the aim that they
are trying to reach, but
the basis, the soil which
they use to present something
they need to say to the
audience, something that
is deep in the musician’s
soul.
The Tumult make an experiment
with folkloire, presenting
a rich variety of compositions.
At times they were spiced
with fusion notches, heavy
guitar riffs, slapping
bass, recitative quatrains,
and at times they appeared
as melancholic Polkas
with their tender violin,
incrustated with jazz
passages, or jigs, tastefully
arranged with electronic
sound, and the all-embracing
smooth lead vocal. This
was what the four Danes
brought with them to the
distant, huge, cold and
unknown country. And they
hit the very point.
The point on February
20 was called the Vermel,
a club across the river
from Kremlin. I came there
tempted by an intriguing
media announcement, and
not having an idea what
to expect. The club detained
the beginning of the concert
a little since there was
not a lot of listeners
in that Wednesday night.
Surely much less people
than the quality of this
music deserves. But from
the first note everyone
who made it to the concert
could understand that
people who did not come
lost a real lot: there
is no such sound in Russia.
No one plays like this
here. Not these days,
anyway.
During the first couple
of compositions people
just sat and tried to
get used to the waterfall
that was falling on them
from the stage –
the stream of energy,
garmented in every possible
form, but with a distinct
nature – the Tumult!
And the rest of the concert
passed in one go –
the audience came to like
it and towards the end
of the concert many people
broke into dance, especially
when the rhytmical figures
similar to familiar Celtic
dances could be heard.
Apperently, the rhytm
of the band deserves a
special attention. In
some compositions it pretented
to be a creature independent
from all the other music
– as a cat, once
invisible and crawling,
and then unpredictably
rushing from nowhere through
the alley, with its own
dignity and confidence,
making the other sounds
and notes catch up with
it. Probably wishing to
confirm this character
of the band’s rhytm
section, over the set
of drums hanged the satisfied
smile of the Cheshire
cat, generated throughout
the whole concert by the
group’s drummer.
To make the show complete,
in the end the leader
Jorgen Dickmeiss gave
his tribute to the country
that host his tour: he
crowned himself with a
Russian fur hat and played
a song on the accordion.J
These were the people
who came for a week-long
tour around Moscow clubs.
I can only wish them good
luck and artistic success,
and keep my fingers crossed,
hoping that Tumult’s
visit would not come unnoticed
by domestic musicians
who perform traditional
music. Maybe Tumult can
inspire some new, totally
original approaches. Because
once they make it out
there, why don’t
we?”
Veresk,
20.02.2002, by
Ivan Dontsov, Russia www.veresk.ru
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