Ende des Monats veröffentlicht Karaoke Kalk nach “Elektrisk Guitar” die zweite Solo-LP des dänischen Komponisten und Experimentalmusikers Rolf Hansen. Auf “Tableau” steht erneut die elektrische Gitarre im Zentrum des Geschehens, das hier einmal mehr der Auslotung ungewohnter Annäherungen an das Instrument als Klangquelle und somit automatisch auch an ungewöhnliche Klänge und Klangkonstellationen verpflichtet ist. Das Resultat ist eine meist eher stille Musik irgendwo im Grenzgebiet zwischen minimalistischen Folksongs, geräuschorientierter Klangkunst, Echos mittelalterlicher Musik und dem, was man einmal im besten Sinne als Weltmusik benannt hat – auf den ersten Eindruck verbummelt, bei genauerem Hören so meditativ wie eine Spinne und dank verschiedener haptischer Bearbeitungen des Instruments reich an Klängen, die ganz andere Instrumente in Erinnerung rufen. 
“Already on his last album, Hansen had found a different approach to playing and composing, but this time went even further and created a set-up in which the electric guitar becomes a different instrument altogether. This is also expressed in its title: a tableau is, broadly understood, an image-forming momentary bodily pause in a dramaturgical or narrative process. In the context of the album, tableau is the form and sound that emerge when the musician’s usual approach to playing and the compositional practice is halted and transformed. To achieve this, the guitar is placed on a table with microphones installed around it and tuned in a static microtonal modality thanks to wooden replacement frets that have been inserted under the strings. This alters how the sounds are being generated with the instrument, which is now played from above, occasionally strummed or stroked with a tool.
[...] Using high microphone gain to magnify the high-frequency acoustic sounds of the electric guitar, Hansen captured a rich near-symphonic changing spectrum of overtones. This is typical for the attention to detail put into the overall record whose approach maximises the music’s affective impact by focusing on minute nuances. Tableau is full of moments marked by almost unnoticeable shifts and changes, offering a wealth of sounds that are as evocative as they come unexpectedly. Despite their aesthetic differences, the kinship between its predecessor Elektrisk Guitar and these 14 compositions is undeniable. Both are based on self-imposed constraints, a radical form of reduction that made it possible for Hansen to broaden his sonic palette and compositional approach. Though mostly short, concise, and abstract-sounding, the pieces on Tableau speak a clear, varied and simple language.” (Karaoke Kalk)