In 2012, I had the good fortune to be in Sydney when SWANS toured on the back of their most recent master work The Seer. The show was, as one would expect, an all out consumption of body and ears.
Before SWANS took the stage however, Kristof Hahn performed a solo set. It was in many respects a stark contrast to what would come from SWANS, but it also laid bare the role Kristof plays in the group. As Kristof moved through the phases of his performance, he staked out a territory of tonal and timbral activity that was deeply revealing, not just of the very personal language he had developed for his instrument of choice, but moreover for how he created unexpected pairings between harmony, texture and even melody.
Hahn’s music is one of repetition and unfolding variation, it is unsettled, but never rushed or careless. He knows that music is an art form of time and is not afraid to allow his compositions to build, evolve and finally arrive with a casual sense of hushed determination.