Steel String Stories: Introducing Martin Kirkegaard

In the right hands, the acoustic guitar becomes a world of sound that transgresses the limitations of the instrument and the role as mere accompaniment. Genres become blurred and suddenly the strings start to sing instead of the troubadour. Or perhaps more correctly, the instrument becomes an extension of the guitarist, and the strings tell stories that seem to come out of everywhere and nowhere.

Tradition is always there and at the same time, it is transgressed, invisible and yet present. John Fahey famously saw himself as a part of the tradition of American primitive guitar and acknowledged the influence of Charley Patton, who screamed and hollered the blues, but he was also a singular musician just like Derek Bailey, who played the guitar like few jazz guitarists before him, and once explored a book of standards.

The point is that music is always tied to tradition, but it still feels like a memorable event when a musical voice really manifests itself. That is the case with Danish guitarist Martin Kirkegaard, who has managed to create a sound that is his own, but still spun from many musical threads.

Martin Kirkegaard
Tar Gui
DaFuGA Sounds
2020

Tar Gui is Kirkegaard's debut from 2020. It's an intimate exploration of music born out of improvisation. The title track introduces a beautiful melody that is allowed to breathe before a bass figure sets in, creating a polyphonic effect. In the impressive 12-page booklet that comes with the album, Kirkegaard has written extended notes in Danish to every piece and notices an inspiration from the pianist and composer, Abdullah Ibrahim.

The African influence is even more poignant on "Farka" that salutes guitar maestro, Ali Farka Toure, and the Ghanian guitarist, Koo Nimo, whom Kirkegaard played with when he was backpacking through Ghana.

Another guitarist, Robbie Basho, gets an homage on "Rodhånd" (root hand) that transforms an outer autumnal landscape into music. It's an epic piece that takes up most of the second side of the double LP. Tuned in DADGAD, the signature tuning of guitarist Pierre Bensusan, the composition is allowed to develop from a drone into a complex composition with lines that ebb and flow.

With titles like "Vildhest" (Wild Horse) and "Bark," the connection to nature is made clear and there is something earthy and organic about the way Kirkegaard plays the guitar. The roots of blues and folk run deep in his music, but the wood of the guitar is the essence of it all. It is no wonder that Kirkegaard originally planned to call the album Træhånd (wood hand). There is a close connection between man and music and a combination between the plain and the mystical. This is evident in the final title, Tar Gui, which sounds like a mystical expression, but if you turn the words around, they simply become guitar.

The guitar is at the center of the album, even though the banjo also pops up occasionally, but in the end, even Kirkegaard has to let go and sings the poem "Al musik har det med at forsvinde og på et blad hænger en dråbe og fordamper" (All music tends to disappear and on a leaf hangs a drop of water evaporating). It might be that all music eventually disappears, but this record leaves a lasting impression.

Martin Kirkegaard
Molacg Part 1 and 2
DaFuGa Sounds
2024

Martin Kirkegaard works in his own tempo and releases new music when his ready to do it. There are four years between his debut and his next full-length album, but it is also a double record that is even more ambitious than the predecessor that already set the bar high for the guitarist.

On Molacg Part 1 and 2 Kirkegaard expands his world in many ways. The pieces are longer, between 7 and 19 minutes, and the inclusion of pianist Mikkel Almholt on three of the five compositions adds new colors and a different dynamic. Almholt plays amplified piano, and the bell-like beauty of his tangents brings an ethereal aspect to Kirkegaard's earthy tones.

Another important change is the deep journey into improvisation. Whereas the compositions on Tar Gui were born out of improvisation, the pieces on Molacg Part 1 and 2 seem to catch the music in the making. But make no mistake, this isn't an easy release that has been churned out quickly. The three duo recordings were recorded in 2012 and have aged well like fine wine while the two additional solo pieces were recorded in 2023 and 2024. No matter the date of the recordings, it's timeless music with inspiration from many sources: Folk, blues, jazz, classical and avant-garde, everything blends in the intimate conversation between Kirkegaard and Almholt. The only thing that is left is music as a pure expression, an almost innocent exploration of what sound can be without barriers.

Kirkegaard's debut came in a limited run of 300 copies, but this time, there are only 100 copies of the standard version plus a very limited run of 20 copies on clear vinyl with black smoke effect. Each copy of the double album comes with hand-painted covers and obi strips and a 12-page booklet to accompany the music, making every copy a unique work of art. This is the kind of approach, you usually only hear about, like Sun Ra's hand-painted covers, but then again, Molacg Part 1 and 2 is a very special record that deserves such sumptuous attention to packaging. It looks and sounds like a work of art.

Tracks and Personnel

Tar Gui

Tracks: Tar Gui; Farka; Ojnab Blues#1; Rodhånd; Ojnab Blues #2; Vildhest; Springdans; Bark; Åndedræt; Along The River Dee; Along The Lui Water; Al musik har det med at forsvinde og på et blad hænger en dråbe og fordamper.

Personnel: Martin Kirkegaard: guitar, banjo, harmonica, vocal.

Molacg Part 1 and 2

Tracks: Am#1; Cm; Tamale i Gudenåen; Brage Blues for Elamat in open landscape; A Suite for Molacg in D major.

Personnel: Martin Kirkegaard: guitar, harmonica, ukelele, voice & sound mix on solo guitar pieces; Mikkel Almholt: amplified piano.

Comments