HORROR VACUI (2019)
“Horror Vacui” means “fear of emptiness” and the duo Maria Arnqvist and Cecilia Österholm who form the band Siri Karlsson have this time been inspired by the cartographers of the 15th and 16th Century.
The construction of soundscapes and empty places on the map to be filled is the basis for the incredibly experimental music, a mixture of traditional folk music, psych, pop, noise and jazz. Heavy rhythms are broken by screams, beautiful melodies on the key harp are followed by the howling saxophone.
Although I am a friend of (music) order who prefers verse and chorus, it is impossible not to be dazzled by the vision here, and the artful, uncompromising exploratio.
5/5 VF Nya Wermlands-Tidningen, Frida Lundström
Avant garde goth folk
Maria Arnqvist and Cecilia Österholm take you on a journey through overgrown forests, over foggy mountains to discover new soundscapes”
4/5 Dagens Nyheter, Magnus Säll
The music seeks into the skeleton and bone marrow.
The TV series Chernobyl and the bioactive film Joker have one thing in common. The sense of doom is enhanced by dull tones from a cello being manipulated; the boundary between music and static electricity is blurred. The composer is the same in both cases, the Icelandic cellist Hildur Guðnadóttir.
The Swedish experimental folk music duo Siri Karlsson (no one in the duo is called Siri, no one is named Karlsson) acts in the same spirit and shows on their new album that they are worth equally large international assignments. Cecilia Österholm has the key harp as the main instrument, Maria Arnqvist alto saxophone, but it cannot be guessed by the sounds they create, with the support of mossy synthesizers.
The tones rumble and vibrate, feeling as much as they are heard. In the same spirit as the drone masters Sunn O))) the music seeks into the skeleton and bone marrow.
Jan Gradvall, Dagens Industri