Kaja Draksler, Petter Eldh and Christian Lillinger are among the most thrilling, deep, and versatile figures to emerge in Europe over the last decade and the music of the trio is nothing less than a hybrid of personalities largely unimaginable if one examined the work of the players outside of this configuration. They knew they had something special right away. Lillinger and Eldh have been working together for much of the last decade, forming an implacable bond within the wildly agile quartet Amok Amor with trumpeter Peter Evans and saxophonist Wanja Slavin. "We've really found a way to morph and stretch forms and groove, and I feel there's a very strong core between us," says the drummer. "And Kaja is able to avoid that and deal with it at the same, which means she is able to shape or color things in her own way." "Some of the pieces are complex and demand accuracy, but on the other hand, none of us are very precious about it," explains Draksler. "So there is inherent freedom... The music and the energy is much more important than correct notes, yet we want to get it right. And there is trust."
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Kaja Draksler, Petter Eldh and Christian Lillinger are among the most thrilling, deep, and versatile figures to emerge in Europe over the last decade and the music of the trio is nothing less than a hybrid of personalities largely unimaginable if one examined the work of the players outside of this configuration. They knew they had something special right away. Lillinger and Eldh have been working together for much of the last decade, forming an implacable bond within the wildly agile quartet Amok Amor with trumpeter Peter Evans and saxophonist Wanja Slavin. "We've really found a way to morph and stretch forms and groove, and I feel there's a very strong core between us," says the drummer. "And Kaja is able to avoid that and deal with it at the same, which means she is able to shape or color things in her own way." "Some of the pieces are complex and demand accuracy, but on the other hand, none of us are very precious about it," explains Draksler. "So there is inherent freedom... The music and the energy is much more important than correct notes, yet we want to get it right. And there is trust."
