Ellen Arkbro’s fourth album, Nightclouds, collects five improvisations for solo organ, recorded across Central Europe in 2023–24. Nightclouds is more unabashedly Romantic and introspective than her previous efforts, though it remains firmly rooted in the rigor and precision that have come to define Arkbro’s concept. Extending her previous explorations of spatialized harmony, tactility, and texture, Arkbro draws equally on sacred music, ECM–style jazz, and downtown minimalism, conjuring a cool intimacy and tone. Her decelerationist chordal improvisations envelop the listener in dirge-like washes, while her close miking reveals the rough haptic grain of the reeds, bringing the listener both inside and outside the sound. Evoking Kjell Johnsen and Jan Garbarek’s duets, or La Monte Young and Tony Conrad’s take on Euringer and Harmer’s cowboy song “Oh Bury Me Not,” Nightclouds channels spiritual pathos through a rigorously restrained architecture.
 
Following up on last year’s Sounds While Waiting (W.25TH, 2024), a selection of stereo mixes documenting Arkbro’s spatial organ installations, Nightclouds shifts direction, focusing on instant composition and improvisation. Elegant, simple chordal scaffolds support rich, ever-shifting textures; listening closely necessitates surrender to sustained irresolution. Bookending a collection of short pieces are two variations on the titular composition, “Nightclouds,” which is a sly nod to British jazz guitarist Allan Holdsworth: The first take slows down and stretches out a continuously modulated harmonic progression, while the short closing version simply loops three chords. Situated between these tracks are “Still Life” and “Chordalities,” two short works recorded at the Temple de La-Tour-de-Peilz in Vevey, Switzerland. The second half of the album is given to “Morningclouds,” a sprawling work recorded in the reconstructed Gedächtniskirche (Kaiser Wilhelm Memorial Church) in Berlin. Arkbro’s concise musical vocabulary and formal architecture evoke a sense of emotional ambivalence, simultaneously uplifting and mournful, guiding the listener through a spectrum of feeling with a cool and distant beauty. Nightclouds stands as a profound statement in Arkbro’s evolving body of work, at once introspective and expansive, the album reaffirms her singular ability to transform harmonic simplicity into deeply affecting sonic landscapes, inviting listeners into a space of contemplation and emotional depth.

Ellen Arkbro (b. 1990) is a composer, musician, and sound artist working with precision-tuned intervallic harmony and installation. Arkbro composes for acoustic instruments, synthetic sounds, and combinations of the two. Despite her works’ scale and precision, the result is rarely a dry exercise in process; Arkbro draws from a vivid array of musical vocabularies—namely, her studies with La Monte Young, Marian Zazeela, Jung Hee Choi, and Marc Sabat; jazz and blues scales and pop modalities; electroacoustic music and sound synthesis; and her time in Catherine Christer Hennix’s Kamigaku Ensemble. She originally trained as a singer with a focus on jazz, changed paths to study at the Elektronmusikstudion (EMS), and ultimately received a degree in Electroacoustic Music Composition at the Royal College of Music in Stockholm. Her work has been supported by residencies at Somerset House in London, Blank Forms in New York, La Becque in La Tour-de-Peilz, Switzerland, and the Experimental Media and Performing Arts Center in Troy, New York, as well as numerous grants, including the ten-year work grant from the Swedish Arts Council. She has presented her site-specific work at Barbican in London, Kölner Philharmonie, Serralves in Porto, Oude Kerk in Amsterdam, Silent Green in Berlin, Ina GRM in Paris, and Tempelaukkio Kirke in Helsinki. In all aspects of her practice, Arkbro focuses on the qualities of harmonic sound that reveal listening as an active process of creative participation, inviting the listener to gradually transform into the sound itself.