Henrik Olsson – Antumbra Ensemble (2026)

In 2026, Swedish guitarist Henrik Olsson introduces the Antumbra Ensemble, a project that defies conventional genre boundaries by merging progressive rock, avant-garde jazz, funk, and post-bop. Based in Copenhagen, this ensemble features a lineup that intertwines Olsson’s longtime collaborators with fresh musical voices, resulting in a dynamic, multifaceted soundscape.

The rhythm section anchors the group with double bassist Jeppe Skovbakke and drummer Rune Lohse, both returning from Olsson's previous works on his Hand of Benediction albums. Complementing them is Kristian Tangvik on tuba, whose deep brass tones provide an unconventional foundation that supports the ensemble's intricate arrangements. The horn section comprises alto saxophonist Michaela Turcerová, trumpeter Erik Kimestad Pedersen, and trombonist Petter Hängsel, delivering a layered brass texture that oscillates between tightly orchestrated passages and spirited improvisation.

Olsson’s compositional approach draws from an eclectic range of influences, including the experimental ethos of Henry Cow, the inventive structures of Henry Threadgill’s Very Very Circus, and the cosmic jazz explorations of Sun Ra. Alongside these, the sonic adventurousness of Soft Machine, the eclecticism of Marc Ribot, and the satirical edge of Frank Zappa inform the ensemble’s idiosyncratic style.

The album opens with “The Maneki-Neko Defect,” a brief interlude establishing a foundation of rock-inspired interplay before transitioning into “Homeshredder.” This track features electronically manipulated guitar textures combined with a syncopated rhythm section and assertive horn lines, creating a sound that is simultaneously glitchy and grounded by the tuba’s resonant undertones.

“El Excavador de Mi Corazon” ventures into territory reminiscent of Zappa’s genre-bending compositions, integrating mariachi-inspired motifs with brass arrangements evocative of Don Ellis. Lohse’s drumming shifts fluidly through swing rhythms, further emphasizing the ensemble’s capacity for stylistic hybridity.

The playful “Hey Pedro, It’s Just Cosmic Dust” fuses avant-garde jazz improvisation with surf guitar and cumbia rhythms, enriched by Turcerová’s distinctive saxophone solo. The piece navigates shifting dynamics and textures, spotlighting the conversational interplay between tuba and trombone during more subdued moments.

“Will Sommers” channels the complex horn syncopations characteristic of Threadgill’s ensembles, paired with staccato instrumental exchanges akin to those found in National Health’s work. Turcerová’s solo brings a heightened focus to the composition’s evolving structural complexity, which intensifies over repeated choruses with an abstract, angular edge.

The two-part “A Lesser Known Tragedy” juxtaposes cinematic balladry with dense, reverb-heavy guitar layers and soaring horn lines traversing various modal landscapes, creating a blend of emotive lyricism and unexpected sonic twists. This track exemplifies Olsson’s skill in balancing beauty and avant-garde surprise.

“The Final Night : Sugoi Yoru!” stands out as an expansive brass-driven suite, marked by rich harmonics and a lush melodic arc. The piece evolves into a procession-like segment featuring expressive trombone solos that highlight the ensemble’s collective synergy. The closing track, “With Freedom, Flowers, Books and the Moon...,” encapsulates the album’s jazz-rock fusion ethos, blending meticulously arranged sections with free-form improvisation and abrupt rhythmic shifts, all while maintaining a sophisticated melodic framework.

Throughout Antumbra Ensemble, Olsson synthesizes diverse musical traditions into a coherent and personal artistic statement. His ability to fuse complexity with accessibility ensures the project’s relevance within contemporary music discourse. While the album reflects a wide array of inspirations, it ultimately asserts a distinct voice that redefines genre boundaries rather than merely revisiting past models.

Details regarding the ensemble’s broader plans or live performances remain limited at this time. However, the release positions Henrik Olsson as a significant figure in the ongoing evolution of progressive and experimental music scenes centered in Copenhagen and beyond, promising further exploration in future works.