BEAM SPLITTER‘s debut album „Rough Tongue“ on Corvo Records is one part, a timbral collage of carefully extracted sound material and in another,
a longer moment taken from an intimate room below the din. All tracks are taken from three live concerts in 2016.
Utilizing the pure sounds of acoustic and closely amplified trombone and voice, the record exemplifies the joining together of these two
individual voices into a distinct dialog that delves beyond the borders of the corporeal elements of extended technique and sound.
There is an intimacy and conflict that becomes evident as the two personas intertwine, in moments joining together seamlessly and in the next,
being left with the feeling of irrevocable fracture. The two manage between these extremes with a kind of improvised grace that reveals an effort towards a common goal.
It is an honest metaphor for human relationship in process that even in the most serene moments can leave one raw and entirely exposed.



Get the physical release (red vinyl in a beautiful gatefold cover) either by contacting us directly, or through
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"For each of us, breath is a highly personal signature at the audible edge of sound; to magnify it, as Nørstebø and Chen do, is to make oneself available in a particularly bold way.
And the work on Rough Tongue is nothing if not bold.”

— Daniel Barbiero, Avant Music News (USA)

"Audrey Chen and Henrik Munkeby Nørstebø’s album is quite something. Henrik Nørstebø’s meticulously realised trombone scapes combine elegantly with Audrey Chen’s
extraordinary array of virtuosic formant manipulations. Always inventive, often deeply emotive, this is a beautiful duo."

— Chris Abrahams (The Necks)

" (...) Henrik Munkeby Nørstebø’s trombone often percolates in place, conjuring purring power lines, growling lions on the prowl, or yard tools on the fritz (don’t worry, they’re warrantied). Both fibrous and pliable, Audrey Chen’s wordless vocals wrap around Nørstebø’s mouthpiece, climb deep inside, then sprout tendrils out the horn; wobbly moans collide with clicks and chirps, gasping for air between piercing howls. Slow in motion, yet quick in phrasing, Beam Splitter swings precariously from trapeze bars, spinning wingless above the ground, taunting Mother Earth to claim gravity’s fugitives."
— Todd Gruel, A Closer listen (USA)

“Chen and Munkeby Nørstebø explores the spectrum between expressive, abstract vocals and the trombone as an instrument that channels pure bubbles of air and streams of breathes, intertwined in dense dialogues. Despite the abstract nature of Beam Splitter’s aesthetics, Chen offers highly emotional and suggestive territories with her urgent, wordless lingo while Munkeby Nørstebø embraces gently her vocal forays with raw, tactile breathes, and serene drones. Both move organically, keeping a highly intimate, conversational mode, with their own senses of pulse and narrative development.”
— Eyal Hareuveni, The Free Jazz Collective (USA)

“Süßes Nichts, herbes Alles: Rough Tongue von Beam Splitter ist eine stimmige, ja vielstimmige Platte voller magischer Momente”
— Felix, Freistil (AT)

"Chen og Nørstebø behersker et stort spekter av lyder, og spesielt i den lange «Sweet Nothings» makter de å foreta en kontinuerlig fengende utforskning av strukturer og klanger,
i en uopphørlig veksling mellom soloinnslag og lydhørt samspill."

— Jon Mikkel Broch Ålvik, Morgenbladet (NO)

“Once temas repartidos de manera tan inusual como el propio talante de su música…”
— Fernando O. Paíno, Nomelody Magazine (ES)

“Was für eine Rite de pas­sage ins Urzeitliche. … die Posaune macht ‘rrooo’, ‘rrrrro’ und ‘ffftt’, sie stöhnt und schnaubt minotaurisch…. (Chen) breitet ihre Schwingen als besessene Schama­nin,
sie haspelt, schrillt, girrt und gibt Klänge von sich, für die Menschenspra­che keine Worte hat.”

— Rigo Dittmann, Bad Alchemy (DE)

Όχι ένα άκουσμα για τον κάθε έναν, κάθε ώρα και στιγμή, αλλά σίγουρα μια δυνατή περίπτωση εξερεύνησης ορισμένων επικοινωνιακών ακροτάτων.

"Det er et oversiktlig lydrike de regjerer, nærmest gjennomskinnelig. Det fins ingenting å gjemme seg bak. (...) Kvaliteten sitter i detaljene, og de er mange."
— Arild R. Andersen, Jazz in Norge (NO)

Ženský hlas je místy vyostřen do žiletky, občas je to ostří gilotiny, trombon vytváří ruchové plivance, jež se posléze utápějí v hloubce zvukového vesmíru.
Nechybí ani osvěžující vánek přirozeného lidského dechu v celé škále lyrizujících emocí, stejně tak hlasové bouře v útrobách vášní…

— Jan Hocek, His Voice Magazine (CZ)

"Ofte kan det høres ut som om mye av musikken har vært gjennom diverse elektroniske dippedutter før den har nådd høgtalerne, men nesten samtidig med at jeg tenker det, så kommer jeg på at det faktisk også kan ha vært gjort med korteste vei fra mikrofon til høgtaler. For disse to musikerne, Chen fra USA og Nørstebø fra Norge, er to teknikere av rang, som kan sine «instrumenter» til fingerspissene."
— Jan Granlie, Salt peanuts (NO)