On the third album, Erik Nilsson offers a new essay of his curious electro-acoustic experiments; continuing the elliptical parable of the previous “Hearing Things” (2015), in “The Imperfect Tense” the Swedish artist takes his look to embrace seven enigmatic soundscapes, fruit of the creative intersection between harmonic fragments and sound landscapes soaked in melancholy kinematics.
Well, after years of maturity and development, he has found his sound made up of elements of folk, jazz, classical and contemporary experimental music. However, what Erik Nilsson is doing here is quite unusual. For example, Brian Eno is sure or Daniel Lanois similar music made him, but carries Nilsson’s new album “The Imperfect Tense” a very personal touch.
On the one hand, his music is minimalistic, on the other hand, there is still a lot in it. It looks transparent, but is composed of several layers and contains a lot of movement. The acoustic instruments used, such as the piano or the guitar, fuse with electronic sounds, yet an analogous impression remains. The sounds are flowing and at the same time the music is pulsing almost continuously.