Mats Gustafsson / Kimmo Phjonen - Two Balls Are Enough (Trost, 2026)

By Sammy Stein 

Some musicians seem destined to play together at some point. Not always at the beginning of their careers, but as their music develops, it feels as if their paths are compelled to cross. Gustafsson and Pohjonen have been in the other’s orbit for some time, but it took a suggestion from Bogdan Benigar that the duo perform together at the 2024 Ljubljana Music Festival to provide the impetus and foundation of a pairing that has since enlivened stages at events such as the Tampere Jazz Happening in 2024, where their energised performance impressed audiences.

Finnish accordionist Kimmo Pohjonen plays the accordion in ways you would not imagine. He creates music that changes how the instrument is viewed. With roots in regional folk and classical music, Pohjonen is also influenced by rock and punk. He has written string music for the acclaimed Kronos Quartet and played in the art-rock band KTU alongside King Crimson percussionist Pat Mastelotto and Trey Gunn.

Pohjonen uses accordions with additions to create enhanced effects, and his delivery has revolutionised accordion music and visual performances. He has, in effect, created a genre of his own, with the accordion at its heart. For the last thirty years, he has toured the world, taking part in events, festivals, and playing in different venues. His solo 5-row accordion project featured extreme and original compositions with effects and performances with lights and sounds. His custom-made accordion, along with his imaginative playing, has given him a renown as one of music’s most intriguing characters. He has released several albums and toured extensively in Europe, Asia, and America.  

Swedish musician Mats Gustafsson needs little introduction to improvised music appreciators and is also known for his experimental music, his diversions into punk, rock, classical, and his dynamic performances. He has composed for orchestras, created solo recordings, and toured extensively, as well as being a writer for jazz magazines.

Both musicians have strong stage presence and dynamic personalities, yet each is capable of pulling back to leave space. Their strong personalities could see them clash, but they also have the altruism and connection to others that true musicians possess, so as a duo, they create music both individual to each musician and that stands as duo work. Their similarities and differences combine to create a connection where they are pushed to excel beyond their normal range. It is clear from this recording that ‘Two Balls Are Enough’ brings together kindred spirits, each of whom contributes equally.

Gustafsson told me, “The duo was initiated by Bogdan Benigar, a mutual friend of Pohjonen and me. I have admired Kimmo for years. He may be slightly from another side of the improvised music spectrum, but the energy he is playing with is very appealing. He has amazing levels of energy, and the vibe and feel of the music is one hundred percent 100 % DIY.

We are both the same age, and both spring from punk rock in our teens. Our stupid interest in ice hockey and saunas unites us even more. This is just the beginning. The way Kimmo is using samplers and electronics with his accordion is heaven-sent.”

Both appreciate the capabilities of their instruments but embrace technology and effects that enhance and work with the sonic measurements of their instruments. Since that inspired curation in 2024, they have been blending their sound worlds, and ‘Two Balls are Enough’ is their first album out on Trost Records.

The opener, ‘Ice Heaven’ is a fierce, sparking, energy-laden piece, with intricate, heavy rhythmic patterns, backed by harmonics between the two musicians that bind and create a wholeness to the divergent patterns. Gustafsson unleashes a stentorian solo, while Pohjonen maintains harmonies and high-energy, powerful lines behind. The unified lines are loud, forceful, and incredibly effective in contrast.

‘Magna’ combines chords from the accordion with electronics and screaming effects across a pounding, intense litany of rhythms. A piece of three sections, divided by total silences, this is an intriguing listen. And wholly irreverent.

‘Snow.Linat’ is gentle, with Gustafsson’s flute floating, whispering over the constantly shifting soundscape foundation. Some sections feel powerful and intense, with the flute slashing through, contrasting with emotive, delicate sections, where the accordion’s voice sings, adorned with breathy vocal tones. The sudden shift to a powerful, pithy solo from the sax is gorgeous, and the intensity becomes palpable.

The title track is a messy, joyful, eclectic mix of pops, whistles, accordion chords, and electronic effects, into which Gustafsson’s flute weaves and dives. The track sums up the essence of the album, distilled into just over two minutes of chaotic mayhem, while ‘Its Body Falls Open’ is a tinkling, high-pitched maelstrom of swirling sounds and effects, topped by Gustafsson’s eccentric sax playing and jittering accordion, with ‘Worn Out Words’ providing more of the same.

‘Slow Down The Beating’ is a track that creates deep impact. It has gentleness, with the flute introducing a melodic section before a percussive deluge of changing patterns. This is backed by intricate beats and rhythms, and a development into a raw, pared-back piece with some beautiful rhythmic clashes and dynamic changes over a steady background beat.

‘Naga’ is an exemplar of interaction between two minds with chaotic intent, yet a definitive directive, the result of which is a confident exchange of ideas, manifestations and rhythms that rise and fall, creating an engaging listen. The musical foundations shape-shift, creating powerful imagery and an aural dynamism that evokes spirit. The tautness of the atmosphere is tempered with melodic lines from Gustafsson, as well as his fulgurating, strident phrasing.

“Backengrillen 1” (maybe named after the punk band Gustafsson plays in) creates epic grandeur yet is surprisingly intimate and filled with rustic beauty. The repeated melody on the sax intensifies and provides a gentler interlude before Gustafsson varies the phrasing, and all the while the rapid accordion runs provide a tight but moving backdrop.

Gustafsson and Pohjonen have been touring regularly over the last couple of years, and the release of ‘Two Balls are Enough’ demonstrates the powerful connection these two musicians have.

I commented to Gustafsson that the accordion was not an instrument I really liked – until I heard this. His response was, “Same here - it was never my favourite instrument, but after working with Kimmo, and also some insane Norwegian players: Kalle Moberg, and Ida Lövli (fantastic!) and Frode Hatli - I had to change my mind. It is a funny instrument!. I never thought I would work seriously with anyone playing it, but ha!”

(Moberg has recorded with Nilssen Love, Hakion thelin and many more, Lovli recorded her debut album Skumring (Twilight) on Lawo Classics, and Hatli is a composer who has released several albums and is part of multicultural projects worldwide).

Recordings like this unite different genres and also expand the possibilities of instruments, and maybe, just maybe, change how we hear and feel music.

To quote Gustafsson – “This is just the beginning.”