Impronedjeljak: HYPERSURFACE - DREW WESELY, ANDRIA NICODEMOU i VASCO TRILLA + APEIRON @ Šator CirkoБalkana (behind club Močvara), 27/05/2025

This week's Impronedjeljak brought a musical treat to a new, somewhat unusual location - the concert took place in a circular tent set up right next to Močvara. The setting itself carried a unique atmosphere; an intimate, enclosed space with curved lines that created the feeling of a secluded world, almost isolated from everyday life. Although I've attended many concerts, I must admit - this was my first in a tent. The sound was surprisingly good, the attendance solid, and the evening - unforgettable.

Hypersurface - Meditation and Sound Texture

The evening was opened by Hypersurface, an international trio made up of Andria Nicodemou (vibraphone, Cyprus), Drew Wesely (guitar, Brooklyn), and Vasco Trilla (drums, Barcelona). From the very beginning, the concert felt like a subtle introduction to something greater: the music unfolded slowly, almost ritualistically, like a recipe gently simmering - not a single note was superfluous, and the space between them was just as important as the notes themselves.

Their performance balanced on the edge of neoclassical and experimental jazz, with an atmosphere reminiscent of ECM's New Series releases. Personally, it's not the type of music I usually listen to, which made it all the more intriguing to surrender to this unfamiliar world. It was like embarking on a musical journey without a map or destination. Drew Wesely played seated, treating his electric guitar like an avant-garde slide country instrument. Though he stood up a few times - prompting hope for a distortion-laced outburst - he remained committed to the subtle interplay of silence and tone. Vasco Trilla used unusual mallets with ball tips, adding texture to the cymbals and drums, often rubbing the sticks across surfaces to create sonic layers.

Andria Nicodemou was the trio's quiet stardust - her vibraphone sometimes sounded like a full orchestra. She played with mallets, a bow, even her fingers, occasionally creating dissonant, nearly cacophonous passages that evoked Glenn Branca but ventured even deeper into avant-garde waters.

In conversation with the band after the concert, they confirmed their strong inspiration from avant-garde film and theater music. And indeed - while listening to them, it was easy to imagine their sounds as the soundtrack to a silent experimental film from the 1930s or 1940s. The only downside? At one point, they strayed from cinematic lyricism into a more intense, atonal passage reminiscent of Jimmy Giuffre - and just when it started getting most interesting, they retreated to safer ground. A shame they didn't stay longer in that zone of freedom.

Apeiron - Music Without Borders

After a short break, the Zagreb-based collective Apeiron took the stage, an ensemble dedicated to freely improvised and creative music. Even their name holds deep meaning - apeiron (Greek: ἄπειρον) refers to that which is boundless, infinite, limitless, and immeasurable. In the philosophy of Anaximander, one of the earliest Greek thinkers, apeiron is the primal source of everything - the origin from which all emerges and to which all eventually returns. There's no better name for a musical collective whose performance emerges from silence, evolves unpredictably, and returns to silence, always different and always new.

This was my first time seeing Apeiron live - and certainly not the last. From the very beginning, it was clear this wasn't an ordinary musical experience. Violin, guitar, drums, flute, and voice initially opened up the space for sound, gently and intuitively. Bit by bit, the rest of the ensemble joined in. For those unfamiliar with the idiom of free improvisation, it might have seemed like "no one knew who was leading," but to me, everything made perfect sense - clarity amidst chaos, order within freedom. Each musician knew when to step back, when to pause, when to support others, and when to take the lead. Their ability to build a musical world out of nothing - one that pulses with energy, tension, and emotion - and then deconstruct it just as masterfully, was breathtaking. There were moments when atmospheric tones and gentle gestures ruled the space, only to be replaced by sonic explosions - groove, dissonance, ecstatic climaxes. I was especially impressed by the dynamic shifts throughout the performance - like tides rising and falling, the sound constantly changed in color and intensity.

At one point, the stage featured two violins, trumpet, alto saxophone, and trombone - an unusual yet fascinating interplay of instruments that rarely share the same stage. The sound was dense but not overwhelming - rich yet fluid. The combination of free form, spontaneous decisions, and top-level technical execution resulted in music that was both personal and collective, abstract yet deeply emotional.

The audience had the privilege of listening to a unique 45-minute piece, similar in structure to Hypersurface's earlier performance. However, Apeiron's approach was different - perhaps more subtle, perhaps more complex, but certainly magical.

While listening, I was reminded of Albert Ayler's period with Don Cherry - that same blend of spirituality, wild energy, and intuitive connection among musicians was present here. Though there were eleven of them on stage, it all felt like a single body - with many heads, hands, and hearts, but one will and one breath.

When I tried to photograph the entire collective, they barely fit in the frame - not only physically but symbolically too. Apeiron is not a band that can be easily captured with a lens, a definition, or a genre. They exist beyond the boundaries of the familiar and the comfortable. Their music isn't for everyone - it likely won't attract hundreds at a time - but for those who open up to them, they offer an experience that is deep, purifying, and unforgettable.

The lineup for this performance included:
Leo Beslać (flute), Franjo Glušac (electric guitar), Boris Janje (double bass), Ivan Marincel (trombone), Tena Novak (violin), Igor Pavlica (trumpet), Ivan (alto saxophone), Damir P. Kafka (tenor sax, soprano sax, violin), Dina Puhovski (voice), Mirjana Vodopija (alto sax, voice) and Bruno Vorberger (drums).

Apeiron is more than a music group - they are a constantly transforming organism, a musical ritual that celebrates freedom, intuition, and togetherness. These kinds of concerts aren't just events - they are experiences. And that's exactly why - I can't wait to hear them again. This evening under the tent was a reminder of how challenging yet rewarding improvised and avant-garde music can be. Hypersurface took us on a contemplative journey through nuance and texture, while Apeiron showcased the full richness of collective improvisation and the power of freedom. Such music may never have a broad audience, but that's not its goal. It exists for its own sake - and for those willing to truly listen.

For those open to stepping beyond the boundaries of the familiar, evenings like this are a true treasure. And for those of us who were there - it was another night when music breathed with full lungs.

jura // 29/05/2025