{"id":9639,"date":"2026-05-21T12:04:28","date_gmt":"2026-05-21T12:04:28","guid":{"rendered":"https:\/\/empire-music.net\/index.php\/2026\/05\/21\/siril-malmedal-hauge-kjetil-mulelid-i-remember-oranges\/"},"modified":"2026-05-21T12:04:28","modified_gmt":"2026-05-21T12:04:28","slug":"siril-malmedal-hauge-kjetil-mulelid-i-remember-oranges","status":"publish","type":"post","link":"https:\/\/empire-music.net\/index.php\/2026\/05\/21\/siril-malmedal-hauge-kjetil-mulelid-i-remember-oranges\/","title":{"rendered":"Siril Malmedal Hauge & Kjetil Mulelid: I Remember Oranges"},"content":{"rendered":"

The contemporary European jazz landscape continues to evolve through a delicate balance of traditional improvisation and avant-garde exploration, a trend exemplified by three significant 2025 releases from Siril Malmedal Hauge and Kjetil Mulelid, Guido Spannocchi, and Anton Toorell. These recordings, though distinct in their geographic origins and instrumental configurations, collectively illustrate the broadening definition of "chamber jazz" in the mid-2020s. From the minimalist, wintry landscapes of Norway to the vibrant, cross-cultural streets of London and the experimental guitar solos recorded in the Italian countryside, these albums represent a pivotal moment for independent European labels including Svale Records, Audioguido Records, and Thanatosis Produktion.<\/p>\n

Scandinavian Intimacy: Hauge and Mulelid\u2019s Collaborative Evolution<\/h2>\n

The partnership between vocalist Siril Malmedal Hauge and pianist Kjetil Mulelid reaches a new level of maturity with their latest release, I Remember Oranges. Recorded over a two-day session on June 17\u201318, 2025, at the renowned Propeller Studio in Norway, the album serves as a testament to the enduring chemistry between the two musicians. In the competitive world of jazz duos\u2014where the absence of a rhythm section leaves no room for technical error\u2014Hauge and Mulelid rely on a shared musical shorthand developed through years of professional collaboration.<\/p>\n

The album features a mix of original compositions and curated covers, showcasing the duo\u2019s ability to synthesize international jazz influences into a localized, Nordic aesthetic. Hauge\u2019s vocal performance is characterized by a distinctive tonal quality that avoids the conventional "sweetness" often associated with vocal jazz. Observers have noted that while her delivery lacks the lush vibrato of a Stacey Kent or the heavy soulfulness of a Molly Johnson, it offers a "wavering tide" effect\u2014a dynamic shift between high and low registers that mirrors the naturalistic themes of the record.<\/p>\n

Technical Composition and Guest Contributions<\/h3>\n

Kjetil Mulelid\u2019s pianism provides a structural foundation that is at once dry and technically dazzling. On tracks such as "What Reason Could I Give," his use of glissandos and rapid runs creates a hypnotic effect that contrasts with the more "cautious" approach found elsewhere on the disc. The inclusion of guest musicians further expands the album’s sonic palette. Mathias Eick, a prominent trumpeter known for his work with the ECM label, provides a notable interlude on the track "Cranes," while Johanne Flottorp contributes fiddle textures that ground the music in Norwegian folk traditions.<\/p>\n

The production choices at Propeller Studio emphasize a moody, softer tone, a hallmark of the modern Scandinavian sound. This "less is more" philosophy is evident in the track sequencing, which alternates between vocal-led openers like "I Remember" and piano-centric introductions such as "Ventetid." The result is a 40-minute exploration of space and silence, reinforcing the duo\u2019s status as key figures in the current Nordic jazz scene.<\/p>\n

Guido Spannocchi and the Reimagining of Chamber Music<\/h2>\n

While Hauge and Mulelid explore the rural quietude of the north, Vienna-born and London-based saxophonist Guido Spannocchi takes a more urban and historical approach with his album Kammermusik. Released under the Audioguido Records imprint, the project seeks to bridge the gap between the formal "chamber music" of Spannocchi\u2019s upbringing and the improvisational freedom of the London jazz circuit.<\/p>\n

Spannocchi\u2019s work is deeply rooted in a European perspective, incorporating Yiddish influences and klezmer motifs that provide a sense of historical continuity. The album\u2019s title, which translates directly to "chamber music," is a literal description of its structural intent: small-ensemble music designed for intimate settings but executed with contemporary jazz sensibilities.<\/p>\n

Instrumentation and Atmospheric Design<\/h3>\n

A defining characteristic of Kammermusik is the use of vibraphone and percussion, performed by James Larter, which lends the record a "shimmering" quality reminiscent of 1950s film noir and the mid-century compositions of Henry Mancini. On the track "DKT," the interplay between the saxophone and the mallet instruments creates a gliding, mesmerising tone that evokes a nostalgic, old-school charm.<\/p>\n

The ensemble\u2014comprising Spannocchi on saxophone, Danny Keane on cello, Andea Di Biase on bass, and Larter on percussion\u2014allows for a complex layering of sounds. In "Kivu," the fusion of strings and klezmer-inflected saxophone highlights the versatility of the chamber-jazz format. Analysts suggest that Spannocchi\u2019s ability to evoke specific moods and memories through these instrumental pairings places him alongside contemporary innovators like Miho Hazama and Gideon Broshy, though his aesthetic remains firmly tethered to a Central European heritage.<\/p>\n

Anton Toorell: The Urgency of Minimalist Guitar<\/h2>\n

Shifting from the ensemble format to the starkness of the solo performer, Swedish guitarist Anton Toorell presents Solos II, a three-track release that challenges the boundaries of jazz and experimental music. Released by Thanatosis Produktion, the album was recorded between 2024 and 2025 at Palazzo Stabile in Piemonte, Italy. Despite its brief tracklist, the album clocks in at over 31 minutes, signaling a focus on long-form, rigorous exploration.<\/p>\n

Toorell\u2019s approach is characterized by a persistent, almost feverish urgency. The opening track, "Volta," utilizes swirling cycles of sound and repetition, drawing comparisons to the minimalist structures of Philip Glass. However, unlike the "icy bareness" of traditional minimalism, Toorell employs a deep sense of reverb and a dense, rhythmic strumming that creates a more tactile, physical listening experience.<\/p>\n

Subverting the Psychedelic Tradition<\/h3>\n

The album moves from the "rush and wave" of "Volta" into the hypnotic but restless "Cripta," before concluding with "Scala," a piece that adopts a more meditative but no less intense route. In "Scala," Toorell introduces a "harshness" through clanging chords and string tugs, suggesting a deliberate subversion of typical psychedelic or ambient guitar music. <\/p>\n

This release reflects a broader trend in the Swedish experimental scene where artists are rethinking structural motifs to create tension rather than relaxation. By utilizing the natural acoustics of the Italian recording location, Toorell achieves a sound that is both intimate and expansive, positioning Solos II as a significant contribution to the solo guitar canon.<\/p>\n

Chronology and Production Context<\/h2>\n

The release of these three albums in 2025 marks a period of high productivity for the independent European jazz sector. The following timeline outlines the development and release of these projects:<\/p>\n