Sverrisson has developed his music into a very identifiable and distinct structure. It travels in a seeming random yet consistent flux from one concert through another in different time, different spaces, different members interweaving into his musical strength. Various musicians within his ensemble sustain this kind of a DNA strand of interlinked sound entity. Sverrisson’s collaborations are each a catalyst for his ongoing audio aura, saturated background and foreground, environment for other expressive musicians to perform within and into.

Admittedly less familiar with Bleekman’s work, one can’t help notice how he evoked this sensual expression of body to sound to mouth as manifest through expressive, intense physical attachments to the microphones. This somewhat umbilical connection to the audience made the concert at the Whitney an incredible twosome. Bleckman worked his sound entities like a performing dancer with toys, bells, tapes, his chin. Much of his sound bursting out from his throat in forceful somewhat primal expressions. At the moment when he would fade into the dark out of the narrow spotlight on his body, his sounds would vanish into nothingness as others appeared from within the complex musical structure and the piece moved on.

Familiar specific sounds along with previously unheard ones experienced only at Sverrisson´s performances, with Bleckman, they together created this challenging and forceful music with unexpected results, surprises and challenges for the listener and viewer.