A review of Nikki Martin’s Bittersweet

"New music has not sounded so plaintive for five hundred years […] Elegance radiates from the Renaissance pastiche, as does sincerity […]

The two musicians – Jónas Ásgeirsson on accordion, Katerina Anagnostidou on marimba – enhance Þórgunnur Anna Örnólfsdóttir's captivating lament. Together in Garnison Kirke they sound like so much more than a trio (shout-out to producer Ragnheiður Jónsdóttir!).

Bittersweet effectively alternates between gentle repetitions, pensive silence and sudden bursts of aching beauty. The movements are moderate, the tranquility of contemplation is counterbalanced perfectly by the marimba's tremolo and the accordion's delicate waves of intensity.

It is simply a gem that Martin and KIMI trio have created […]

— Seismograf, Sune Anderberg ‘En bittersød perle af elegant pastiche’ [translated by KIMI]

From KIMI’s concert at Mechanics’ Hall, Portland ME, USA

“I have to say, I have not been this overtaken by a contemporary musical performance since 1994 when I attended the BSO performance of Yo Yo Ma's debut performance of a work by John Harbison (MIT) conducted by Seiji Ozawa. 

The unusual and strikingly harmonic mix of operatic vocals (oh my, what a voice!), accordion and percussion were a complete and lush surprise. The resonance of the Ballroom made it all the more magical. AND to have the composer Marianna Filippi and librettist - our own Megan Grumbling - here for their "Through the Eyes of an Octopus" was one of those rare experiences when the audience can revel in the experience of the thrill of the creators and performers sending a sound wave rainbow across the room.”

— Gregg Harper