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Now on the cusp of his third solo album, Norwegian saxophonist Bendik Giske knows himself well. With his new, self-titled record, he is in his prime as an artist confident in his voice and abilities, buoyed by critical acclaim from all corners - including two Norwegian Grammy nominations - and a surge in audiences everywhere. With the intriguing choice of Beatrice Dillon as album producer - clearly the British electronic musician is a fellow traveler in the practice of original aesthetic expression - her influence is immediate and keenly felt. Together, they strip away a layer of melodicism, honing in on pattern and rhythm to bring out a different dimension of his mesmerizing sound. While again working with single-take recordings, no overdubs, only saxophone and his body, gone is the reverberant space and mellifluous glamor. Giske finds the result akin to musical full-frontal nudity - every detail, every huff and puff audible, no obscuring, no aestheticizing. People may look away when it's not as pretty, but what's left feels more present and potent. Confrontational, it demands greater attention, but through it's physicality - you can hear and feel his body in the music - it takes you to a flow state, somewhere between ecstasy, elation, and spiritual awakening. Intensely human, there's stark tension there, too - there always will be when fighting for existence and validity - elegantly illustrated by Florian Hetz's striking photographs of the artist on the covers of the . In part, Giske is inspired by Judith Halberstam's The Queer Art of Failure. As much as he has benefitted from his training and participation in the environment of the jazz conservatory, his path took him far outside it's confines. Working these new explorations with his instrument has been a ten-year process of peeling away what he knew ultimately didn't fit, finding the sonic territory of his lived
