Als “Miman” zum ersten Mal im Klub Metulj in Bistrica ob Sotli auftrat, wurde eine Verbindung, die bereits mit einer anderen norwegischen Band – Moe – geknüpft worden war, ausgeweitet. Offenbar gibt es Gemeinsamkeiten zwischen Musiker*innen aus dem Norden und Protagonist*innen der Freien Musikbewegung aus postsozialistischen Ländern – es sind vor allem  die Vorstellungen von Selbstverwaltung in Politik und Kunst. Die Anerkennung unterschiedlicher musikalischer Ansätze/Ideen bei der Bildung internationaler Gemeinschaften ist dabei wesentlich.
Das Residency Programm als Teil der SundayNoise-Konzertreihe war die Umgebung, in der Mitglieder von “Mimam” die Kernmitglieder der Musikbewegung trafen – Jošt und Vid Drašler. An diesem Abend beschlossen sie, im nächtlichen Ambiente des Klub Metulj einen Akt mit Soloauftritten, Gruppensitzungen und off-program Lineups zu veranstalten. Andreas, Jošt und Vid entschieden, weitere Projekte gemeinsam zu machen. Leider hat die Situation, in der sich die Welt befand, dies verhindert. Sie alle mussten ihre Positionen hinterfragen, was zu dem Schluss führte, dass es nun endlich an der Zeit wäre, mit einer Aufnahme Session in Bistrica ob Sotli, wo alles began, und einer kleinen Tournee weiterzumache

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When Miman first came to perform at Klub Metulj in Bistrica ob Sotli, a bond that had already been established with another Norwegian band – Moe – got even tighter. There is obviously something shared between musicians from the north and protagonists of free music movement from post socialist countries – ideas of self-management in politics and art. The acknowledgement of the importance of musical approaches/ideas in forming international communities being the strongest one. The Residency program as part of SundayNoise concert series was the environment in which Mimam members met the core members of the music movement – Jošt and Vid Drašler. That evening they made a decision to do an act of solo performances, group sessions and off-program confrontations in the late night environment of Klub Metulj.
The words of Andreas after official performances »Let’s play« were indulged by listening to their musical idols. At that moment, they all agreed that they might have something worth deepening in their future confrontations. Andreas, Jošt and Vid decided that it was necessary to meet again and play some more. The situation the world found itself in prevented that. They all had to question their positions, which led to the conclusion that it was time to do it in a form of a small-scale tour and a recording session in Bistrica ob Sotli, where it all began..

Andreas Røysum / clarinet

Jošt Drašler  / double bass

Vid Drašler / drums

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Andreas Røysum is a clarinet player, composer, curator and organizer from Norway. Improvisation is the cornerstone in his musicianship and essential in the music he loves; be it free jazz, Indian classical music, Balinese gamelan, Morrocan trance music or Norwegian folk music. You can hear him with bands like Miman, Nakama, Marthe Lea Band, Andreas Røysum Ensemble, Alasdair Roberts & Völvur or in collaboration with musicians like Mats Gustafsson, Axel Dörner, Alexander von Schlippenbach, Tristan Honsinger, Paal Nilssen-Love and Kresten Osgood.

Jošt Drašler studied In addition to musicology, double bass at the Regional Conservatory in Klagenfurt with prof. Uli Langthaler. Recently, he has been intensively engaged in areas of contemporary music practices with an emphasis on free improvisation. His interest is in the potentiality of risk and it’s natural development, which generates unpredictable sound textures.  He regularly participates and organizes workshops for free improvised music (BCMF, Raziskava, refleksija, Rojišče, Mariboring, 4 States Sessions, Improcon etc.). He is cooperating with a wide variety of musicians from highly diverse genres. His broad understanding of music is crossed by various genre frames from free jazz and freely improvised music through avant-rock to flamenco.

Vid Drašler is from Bistrica ob Sotli, where he played in a jazz-rock band Zmajev rep and in the Malik. With the Balžalorsky / Drašler trio he made a breakthrough in Slovenian jazz. One of his next peaks is the Drašler – Karlovčec – Drašler trio whose noisy improvisation is in no way less clear than his earlier more structured work. Vid has collaborated in several theatre productions as well as with the Kombo Kombo – a jazz orchestra lead by Zlatko Kaučič, with whom he also studied for four years. He has been active as a pedagogue and co-author of music and art events in the town of Vrhnika, where he is also the curator of a weekly workshop focused primarily on non-idiomatic improvisation