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Jim Denley - wind instruments

Kim Myhr - twelve-string guitar, zither

Ingar Zach - gran cassa, percussion


About Tempo

3CD + shipping

MURAL: Tempo is a 3CD box set recorded live during a 4-hour performance at the Rothko Chapel in 2013. Following up on the group's Live at the Rothko Chapel from 2011, this release shows the group expanding into a much longer form. MURAL consists of Australian windplayer Jim Denley, with Norwegians Kim Myhr (guitar) and Ingar Zach (percussion). They first performed in 2007 in Madrid, and have made concerts around the world since. The trio has released two critically acclaimed records.

After two successful concerts at the Rothko Chapel and a CD-release on the Chapel's own publications, the trio visited the chapel in Houston, Texas for the third time in April 2013. Wishing to challenge traditional concert formats, they decided to play a four hour long performance in the chapel. The result was so satisfying to them that they decided to release the music as a 3CD-box set.

The music that was played in the chapel is an expansive and patient form of music, far beyond any traditional entertainment formats. In an abyss of time, MURAL's music was not only elevated to another level; one could say that in these long durations, it finally came to its own right.
Rothko's paintings from the Rothko Chapel can be seen on the front cover of the release.


Nordische Musik

Über vier Stunden spielten Mural, ohne Unterbrechung, meditativ und dynamisch, wie man es von Ihnen kennt. Dabei loteten sie die Extreme zwischen dem Kaumhörbaren und dem Driften in Drone-Jazz-Noise genial aus. -- read the whole review»

Ingo J. Biermann

freiStil #63

Großartige Musik! -- read the whole review»


The Quietus

The overwhelming impression one takes from Tempo is that the convergence of place, performers, presence and sound have brought into being a new space, entirely unique and unrepeatable. Perhaps it is that very absence of the first hour that has helped form this space. Tempo in its own right is a grand recorded work in which the listener should amble and drift, feeling the breath and pulse of Mural's music as it glides into minutes of meditative silence or erupts into flurries of wind, string and steel. It's the sound of your heartbeat and blood rushing through your body as you stand silently within an austere place of much-needed retreat. The thunderstorm which breaks midway through 'Third Hour' only emphasises further this sense of refuge within a brooding sanctuary set apart from your own external troubles and trials. -- read the whole review»

Euan Andrews


Disse kontrastene er sentrale. Gjennom årene har Mural utviklet sin egen væremåte, uten å bli forutsigbare. For meg er fraværet av opplagtheter og konvensjonelle uttrykksmåter tiltrekkende. Mangelen på letthet og munter melodi er meningsbærende. Jeg går ikke til Mural for å ha det artig, men gjerne for å kjenne på alvoret. Det er helt uproblematisk å investere tid i den kreativiteten som preger materialet. 5/6 stars -- read the whole review»

Arild R. Andersen

Complete Communion at The Quietus

this is an original and affecting performance -- read the whole review»

Stewart Smith

Bergens Tidende

Det er ikke til å unngå at elementer repeteres over disse fire timene. Likevel er sammensetningen alltid unik, og de fire CD-ene utstråler hver sin energi, avhengig av hvor vi er i den store formen. Musikerne spiller dedikert og fokusert med - eller mot hverandre, og det danner kontrapunktiske friksjoner det er en sann fryd å høre på. 5/6 stars -- read the whole review»

Stephan Meidell

WestZeit (DE)

Die Assoziation zu Morton Feldmann epochaler (Auftrags)Arbeit hat ihre Berechtigung, auch hier wird Zeit irrelevant, ergeben sich MetaStrukturen, finden singuläre Klänge in verblüffender Weise ihre Traumpartner und der aufnahmebereite Zuhörer einen sehr tiefen Frieden. Weshalb die erste Stunde der Performance night veröffentlicht wurde, bleibt Murals Geheimnis, aber den Rest gibt's nun in voller Länge und Schönheit zum Mitnehmen. (5/5 stars) -- read the whole review»

Karsten Zimalla


De abstracte, omfloerste, wazige en intense klankclusters hebben het ene moment de kracht van een mokerslag en het andere een donsveerachtige kietelkriebel die een klein beetje jeukt. Mural verleidt echter vooral tot gefocuste attentie. Dan wordt horen echt luisteren. En ook dat gaat zo goed als vanzelfsprekend. -- read the whole review»

Sven Schlijper

All about Jazz

Despite lasting nearly three hours, when heard in its entirety it can make time feel irrelevant—in much the same way that time spent in the Rothko Chapel does. Listening to the album, it is easy to feel envious of the audience who were fortunate enough to be there in person on the night in question. For the rest of us, the recorded version feels as good as having been there. -- read the whole review»

John Eyles

Tor Hammerø blog

Mural byr ikke på melodier, linjer og rytmikk i tradisjonell forstand. De gir oss bilder, stemninger og farger som er egna til å inspirere sinn som vil bli utfordra og som ønsker å bli tatt med til steder de aldri har vært på før. Ikke så reint lite det. -- read the whole review»

Tor Hammerø


Dit mag dan wel een van de meest meditatieve releases van het jaar zijn, toch benieuwd wie dat volhoudt. -- read the whole review»



Trzyp?ytowe i zarazem koncertowe wydawnictwo „Tempo” powsta?o podczas czterogodzinnego wyst?pu muzyków w ameryka?skim Rothko Chapel. Arty?ci w teksa?skiej kaplicy wyimprowizowali co? na wzór muzycznej otch?ani, która z ka?d? kolejn? minut? wci?ga coraz bardziej. Niekiedy podró? po tym ?wiecie bywa spokojna, ?agodna, a innym razem docieramy do mrocznych pok?adów naszej ?wiadomo?ci. Kontestacyjny charakter kompozycji tria Mural sprawia, ?e percepcja ludzka zaczyna b??dzi?, pow?tpiewa? we w?asne istnienie. To chyba dobrze, bo kiedy wkrada si? nadrealna oboj?tno??, czyli najgorszy stan zarówno dla twórcy jak i odbiorcy, szybko budz? si? w nas ma?o pozytywne odruchy i w bezpardonowy sposób ignorujemy wszystko i wszystkich. Z ca?? pewno?ci? materia? formacji Mural nie nale?y do „przegadanych”, nudnych czy wyp?owia?ych, raczej potrz?sa nasz? wyobra?ni? i pobudza do dalszych poszukiwa?. -- read the whole review»

Lukasz Komla Mag

Ein monolithisches Album, das – ganz wie die abstrakten Gemälde Mark Rothkos – seine Lebendigkeit aus seinen strukturbildenden Details gewinnt. -- read the whole review»

Tim Caspar Boehme


A compelling culmination, the third disc («Fourth Hour») begins with sparse, tentative, crystalline sounds. Soon, oceanic low register crecendi engulf you - just as those giant swathes of apparently monochromatic paint absorb you - until suddenly you are through to the other side, a serene world where you float alongside airy, gently pulsating tones, plaintive scratched string patterns and half-heard activity glimpsed in the corner of your ear. -- read the whole review»

Barry Witherden


Il tempo è dunque materia e chiave di lettura di questa singolare e affascinante performance: a noi, che oggi possiamo riascoltarla, manca soltanto il privilegio di assistere al magico dialogo di queste sonorità – a un passo dalla non-music – col monumentale silenzio dei Rothko, la cui essenza nessun supporto audiovisivo può realmente catturare. -- read the whole review»

Michele Palozzo


Apparentemente i tre musicisti non seguono alcuna regola legata a linguaggi convenzionali, liberi di improvvisare creando masse sonore che si dilatano e si contraggono, scontrandosi come particelle in un bevatrone. IMPONENTE. -- read the whole review»

Roberto Mandolini

The Blue Moment

if the second disc were issued in isolation, it might be considered a masterpiece of its kind; it’s something you could use to persuade a sceptic of the value of free improvisation, if you could get them to sit still and pay proper attention. -- read the whole review»

Richard Williams

Dalston Sound

The muted conclusion to the main set comes with a few minutes of pure ambience, then a crescendo of small sounds that end in sax licks that curl smokily into plumes suspended in silence. The 21 minute “Coda” that ends disc three flows naturally from there, beginning with harp-like zither and vocal percussion plus pianistic percussion trills and birdlike fluting. A marble or ball-bearing rolls and settles. A brief flurry of agitation yields a brief, rhythmic guitar figure and extended flurries of saxophonic contact sounds and circular breathing, taken down by zither glissandoes and lulling guitar. -- read the whole review»

Tim Own

Meandering somewhat in between pure improvisation, super leftfield FreeJazz and droning, hypnotizing, live-created PostAmbient the three musicians take us on a journey through the whole spectrum from super buzzing, insectoid sounds to calm, dream-like guitar sequences reminiscing of early Balearic vibes, minimalistic drum vs glockenspiel parts, thrilling stakkatos beyond any imagination, musique noir, yearning and lonely wind section episodes as well as squealing, nerve-wrecking flutes, perilous drumming and much more, such as swelling crescendoes to be found on the last of the three discs, «Tempo» caters an intense listening experience beyond regular formats or categories to all fans of free-floating FreeJazz and advanced experimentalism. Nice. -- read the whole review»


Free Jazz

The three musicians are phenomenal at co-creation, improvising together and moving together in developing the dark and fragile atmospheres they build, an amazing feat that becomes more impressive the more you listen to it. -- read the whole review»


Bad Alchemy

Dafür sorgt Denley mit krächzenden und brodeligen Lauten, Zach mit dem Murren und dem dunklen Herzschlag einer großen Trommel, Myhr mit Bogenstrichen auf einer 12-String oder Zither. Was immer auch damit angestrebt wird, ein leeres Grau-in-Grau ist es bei aller kunstfrommen Andacht nicht. Vielmehr wird an den Säumen der Imagination gekrabbelt, gegen mentale Grauschleier angepustet, mit feinen Glöckchen, Klangschalen, sanftem Gong und zwischendurch abrupten Schlägen die Sinne gekitzelt. Myhr wetzt ausdauernd die Saiten, lässt sie flirren und federn oder ticken wie eine Großvateruhr. Denley tutet, oder schrillt Flötenpfiffe, Zach pumpert, schnarrt oder lässt Metall schimmern. Rothkos Bilder haben ihr Format, die Kapelle hat Mauern, diese endlos changierende Musik entgrenzt das eine wie das andere, weit über bloße Seelen­baumelei hinaus. -- read the whole review»

a Jazz Noise

For the full effect, you should of course listen to all three discs, end to end. It’s an ordeal, but in the ceremonial rite-of-passage sense and wholly worth it. Strange things happen. At this level of abstraction, the ear imposes familar sonic shapes: telephones appear to ring, locomotives seem to arrive, ancient radios are tuned in… but all the while, it’s simply wind, strings, percussion, spontaneity and a sureness of touch from all three participants that suggests nothing is happening by accident. -- read the whole review»


Avant Music News

Reflecting the immersive, contemplative atmosphere of the Chapel, Tempo captures the last three-quarters or so of Mural’s over four-hour-long continuous performance. Although each of the three discs can be listened to by itself, the music’s full effect and the group’s deftness at developing sonic textures over long cycles only becomes forcefully apparent when all three are heard in sequence during a single listening. -- read the whole review»

D. Barbiero