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Diskographie
• SCHWIMMER: 7X4X7

CS 013, Creative Sources 2004
Alessandro
Bosetti: Sopransaxophon
Michael Griener: Schlagzeug
Michael
Thieke: Klarinette, Altklarinette
Sabine Vogel: Flöten
Recorded 9/2/2003 by Ronny Trocker at studio P4, Berlin
Cover design Asi Föcker
Creative sources/lisbon 2004
www.creativesourcesrec.com
01 6:30
02 6:30
03 6:46
04 6:53
05 7:03
06 7:03
07 7:01
Presse
Declaradamente, a nova geração de improvisadores
não se preocupa só em acrescentar sons ao silêncio
ou em desmistificar a associação do ruído
com o volume sonoro. O quarteto formado por Michael Thieke (clarinetes
soprano e alto), Alessandro Bosetti (saxofone soprano), Sabine
Vogel (flautas em dó, piccolo e baixo) e Michael Griener
(percussão) tem outra preocupação central,
o espaço, ou melhor, a forma como se podem criar espaços
ilusórios ou como os instrumentos (leia-se: os sons instrumentais)
se fundem com o seu próprio espaço de difusão.
«Schwimmer» é mesmo caracterizado como uma
“organização de sons no espaço”,
quando regra geral, na definição de música,
se fala dessa mesma organização no tempo. Em texto
de apresentação do projecto, Bosetti, que gosta
de reivindicar a sua qualidade de “antropólogo
dos sons”, lamenta que o interesse pela espacialização
áudio surja apenas como um efeito final no trabalho composicional,
interpretativo e/ou de improvisação, quando devia
ser um dos elementos mais determinantes do próprio discurso
musical. Daí, pois, o papel fundamental dos microfones
e dos altifalantes nas execuções deste grupo,
com cada instrumento a ser amplificado com os mais variados
tipos de micros, e com as suas projecções sonoras
estrategicamente distribuídas pelos locais de actuação.
O registo deste disco não se ficou por aí: cada
instrumentista gravou solos improvisados de sete minutos, que
foram sobrepostos em cadeia até ao final.
Ou seja, não só se compôs na pós-produção
o que foi antes improvisado, procedimento que já nada
tem de novo, como se jogou com os vários espaços
sonoros capturados, forjando na mistura, a partir deles, um
outro espaço (meta-espaço?) totalmente fictício,
o que já é outra coisa. A dimensão é
conceptual, sem dúvida, como já vai sendo hábito
nestes domínios, mas tem uma tradução prática
que fala por si própria.
Rui Eduardo Paes criticas novas (P)
Nemmeno una probabile fiacca, dovuta al caldo soffocante
di questi giorni, è riuscita a frenare il Portogallo
e la propria scena indipendente, tra le più attive musicalmente
al momento in Europa. Discorso non solo concerne al jet set
dei musicisti, ma anche allargato agli ambiti produttivi, con
etichette sempre più emergenti nel panorama internazionale.
La Creative Sources, poi, nel corso di un modesto lasso di tempo
ha subito una notevole crescita (produttiva e qualitativa),
acquisendo un sicuro posto di riguardo da parte degli aficionados
delle musiche di ricerca.
[...] D'altro spessore si presenta il quartetto firmatario di
“ 7X4X7”: un lavoro che a tutto tondo catapulta
dentro gli attuali meandri del circuito sperimentale berlinese.
A fianco di Sabine Vogel, Michael Griener e dell'attivo Michael
Thieke vi troviamo anche la mano di un Alessandro Bosetti che,
dopo i recenti sviluppi solistici raggiunti con “Zona”,
rende ulteriore conferma del mood introspettivo e, sempre più,
elettro-acustico riservato alla sua musica. Aloni del passato
collettivo Phosphor si rincorrono per i diversi strati, quieti
in partenza più nervosi e tirati alla fine, che delineano
un continuo viaggio sonoro. [...] Tre lavori che nascondono
il sapore del ‘già detto’: questo il pensiero
che balena alla mente, dopo essersi voltati ad osservare tonnellate
di lavori simili accatastati sullo scaffale, ma importanti per
l'etichetta, curata con passione da Ernesto Rodrigues. La possibilità
di aprirsi, come in questo caso, a produzioni estranee al circuito
iberico è di rilievo per un paese che, a differenza di
molti, non vivendo di particolare benessere nutre una certa
indifferenza nei confronti della propria comunità artistica.
Sergio Eletto, Sands-Zine
If you're tired of the plastic surgeries of today's idea
of freedom, it could be a good idea listening to this quartet,
formed by Michael Thieke (clarinets) Alessandro Bosetti (sax)
Sabine Vogel (flutes) and Michael Griener (drums). Theirs is
the sound of alienated volatile creatures in an enormous metal
cage, looking for the door to a just imaginary escape. Since
the very beginning, the musicians apply a cold stare to introspective
dialectics, rubbing, blowing and tongue-popping their instruments'
cavities until air is projected in a multitude of shapes and
- sometimes - in almost painful icicles for the ear. Struck
by the group's engaging attitude, I can't help but looking for
imaginative comparisons, actually to no avail. The whole sound
organization is remarkable; minuscule fragments and more violent
emissions weight the same, accumulating anxiety and tension
that don't ask for help. Self constraint can yield more power
than you could guess, if it's channeled into the right conduits.
Massimo Ricci, Touching Extremes
The portugese label Creative Sources started as an outlet
for the musical activitites of Ernesto Rodrigues. But since
the cd by No Furniture, a trio of Boris Baltschun (sampler),
Axel Dörner (computer, trumpet) and Kai Fagaschinski (clarinet),
the label gives also room to german improv projects. Listening
to the cd of Schwimmer this is no surprise, because the improv
music of these ensembles is comparable to the projects of Ernesto
Rodrigues. We hear the same sparse, meditative improv music,
that gives room to each little sound, subtlety and silence.
Schwimmer is a quartet: Michael Thieke (clarinet, alto clarinet),
Alessandro Bosetti (soprano saxophone), Sabine Vogel (flute,
piccolo, bass flute), Michael Griener (drums). They recorded
on a day in february 2003 in Studio P4 in Berlin. The titles
of the tracks on Schwimmer are pictographical presentations
that contain some hidden logic. This shows a comparable love
for abstraction. Because we cannot associate the music with
the meaning of the titles, one could say that is focuses the
listener more on the concreteness of sound. The music is sometimes
so intimate and modest that it disappears into silence. Schwimmer
dwell in a micro-world of sound close to silence.
Dolf Mulder, Vital Weekly
Schwimmer is a fairly odd name for a quartet playing such
sparse, diffuse music; its proper name seems misleading in a
context as “egoless” as this. You never know: the
title could be a sly revision of the old Monk classic 5xMonkx5
(whereas here we have seven tracks by four musicians; you get
the point). The players are soprano saxophonist Alessandro Bosetti,
clarinetist Michael Thieke, flautist Sabine Vogel, and percussionist
Michael Griener. A lot of winds sessions explore heavily contrapuntal
material, or complex notated music that one might encounter
in, say, Scelsi, Xenakis, or Carter (September Winds is well
known for the former, and Gebhard Ullmann’s Clarinet Trio
for the latter). These players are interested in the music of
breath and heartbeat, of steam and air, of slow geologic rhythms
and earthen undulations. For those who have heard the triple-soprano
summit Placés dans L’Air (where Bosetti teamed
up with Bhob Rainey and Michel Doneda), this music has something
of that recording’s near hush. But with Griener and the
slightly more cantankerous Thieke on board – the percussionist
achieves a kind of laminal space, like Burkhard Beins, while
Thieke favors wet gurgles and rude splats – things don’t
ever get too still. There may be a lonesome tone that could
almost come from Sachiko M or Toshi Nakamura, a glittering wave
of pure harmonics that sounds electronically-produced. Yet these
are balanced by passages where the four players generate sound
as if from a single twittering machine. The contrast between
the moments of bare audibility, Messiaen-like bird-calling,
and the harsh, guttural sound of metal is often exquisite. The
point of Schwimmer’s playing is not to generate “events”
or “expressions”; in fact, it almost seems like
the point is to see how the sounds are swallowed up, more than
to see how they are produced in the first place (though with
sounds as alien as these, the notion of production is pretty
fascinating). Indeed, I keep returning to metaphors of casing,
enclosure, and framing for this record. Maybe that’s because
Griener is so adept at carving out giant sonic shapes with his
percussion, or perhaps it’s simply a function of how adroitly
this quartet explores limits (instrumental, formal, interactive).
Regardless, there is a subdued power to this music that grows
with each listen.
Jason Bivins, Dusted magazine
Schwimmer are a Berlin based quartet featuring clarinetist
Michael Thieke, soprano saxophonist Alessandro Bosetti, flautist
Sabine Vogel and percussionist Michael Griener, who, taking
advantage of the multitracking facilities in Ronny Trocker’s
P4 Studios, managed to record nearly the entire album by not
playing together at all.
The odd collection of colour-coded symbols (microphones, headphones
and scissors) adorning the booklet explains the horizontal nature
of the process: Thieke recorded a seven minute solo, on top
of which Bosetti improvised, followed by Vogel and finally Griener.
For the second track, Thieke played along with this entire first
quartet, followed by Bosetti, Vogel and Griener, after which
the first quartet was erased, leaving the second.
And so on, until the seventh and last track, where all four
improvised along with quartet six (duly erased). Hardly surprising
then that this final piece is more concerned with sustained
sonorities and harmonic colour. Elsewhere, however, the overall
dynamic level remains low, the music bustles with activity,
and has more in common with vintage English insect music than
with what is normally described as Berlin lowercase. Griener’s
tight, meticulous percussion flurries often recall John Stevens.
They mesh perfectly with the stifled grunts, draughty flutters
and wheezes of the wind players. To thicken the plot, the close
miked instrumental tracks are mixed and panned to great effect,
heightening the music’s quietly dramatic sense of timing.
Hardcore Reductionists of the Radu Malfatti persuasion will
no doubt find it all too busy, and while the most effective
moments occur when sustained high-pitched tones from the winds
and some well-aimed thwacks and pings from Griener ventilate
the structure, the album as a whole is refreshingly light and
colourful.
Dan Warburton, The Wire
[…] Berlin-based Schwimmer, on the other hand, is
a reductionist combo concerned with organization of sounds in
space on the border of inaudibility. The cast of characters
on 7X4X7 represents a younger generation most stimulated by
the differences between sound and silences. Milan-born soprano
saxophonist Alessandro Bosetti plays with other microtonalists
like American saxist Bhob Rainey and German prepared guitarist
Annette Krebs. Munich-born flautist Sabine Vogel moves between
New music, pop and a duo with Australian drummer Tony Buck.
Clarinetist Michael Thieke has worked with American jazzers
like drummer Jim Black plus reductionists like trumpeter Axel
Dörner, who also plays with Bosetti. Nuremberg-born drummer
Michael Griener has the widest experience, with gigs ranging
from backing up mainstream jazz guitarist Herb Ellis to playing
with Dörner. Ellis' licks will be the farthest thing from
your mind on 7X4X7 however. If the longtime Oscar Peterson sideman's
leitmotif is bluesy swing, then Schwimmer's is a shrill, almost
ear-splitting tone that for 10 to 15 seconds at a time emanates
from one or two of the reeds, pushing past dog-whistle territory
into the realm of discomfort. This happens most frequently on
track four, though with all the piece about the same length,
the piercing tone is about all that distinguishes it from the
others, since all coalesce into one piece of absolute microtonal
sound. In between these shrill ear canal invasions as well as
a feline hisses and simple puffs from the reeds, are extended
screw tightening noises from Griener that lead to direct hits
on cow bells, hollow wood blocks and rattling maracas. Although
the occasional bounce, flam and press roll is heard, most of
the drummer's conception is as involved with extended techniques,
as the reedists are. Among his creations are prolonged scratches
on the ride cymbal top with a drum stick, a crumpling newspaper
sound and extended timbres that result from using a wire brush
for swizzle stick-like motions on parts of his kit. Not to be
outdone, the horns produce throat growls from within their body
tubes, Bronx cheers, reed smears, tongue slaps, the sound of
saxophone bells muted against trouser legs, hisses, irregular
vibrations, key percussion false fingering and flattement. Squeaking
mouse tones and chickadee squeals also arise in the flute and
penny whistle-like textures from the clarinet. Combing in double
or triple, often broken octaves, one reed can resonate with
busy wasp stings, while the other produces deep throat gurgles.
Together, triple counterpoint gives the three a wider, more
dissonant sound, melding and increasing in intensity until all
pitchslide into polyharmonic glissandi. Meanwhile, Griener repeatedly
scrapes his cymbals. Overall, the most distinctive -- and most
frequent oral technique from the reedists -- is also the simplest:
billowing pure colored air through the body tube without moving
the instrument's keys. The result can be a wisp, a gargle or
a subterranean roar, at intervals accompanied by compact bell-ringing
tones. Approaching percussion and reeds from different angles,
these fine CD highlight the tremendous variety of what gets
classed as so-called jazz or improvised music. It's the listeners
who benefit from this versatility.
Ken Waxman, JazzWord
Czy swiadomosc faktu, jak powstala dana plyta ma istotne
znaczenie dla jej oceny ? Czy liczy sie tylko ostateczny rezultat,
czy tez powinno brac sie pod uwage, jakie zalozenia, jakie pomysly
lezaly u jego podstaw ? Szczerze mówiac nie wiem, wlasciwie
lubie myslec, ze liczy sie dla mnie tylko efekt koncowy, ale
przeciez zyjemy w czasach dyktatu sztuki konceptualnej i czestokroc
bardziej ekscytuje nas pytanie: "jak?" , a nie "co
?". Nie mogac zatem nie brac tego pod uwage, spróbuje
w kilku zdaniach przyblizyc w jaki sposób stworzono omawiana
przeze mnie plyte. Byc moze niektórych skloni to do siegniecia
po nia i przekonania sie samemu, czy rezultat tych zabiegów
w sposób istotny zalezy od metody. A przyjeta zasada
jest niecodzienna, choc zarazem prosta. Otóz, w utworze
otwierajacym plyte, najpierw improwizuje jeden z muzyków,
gdy konczy jego miejsce zajmuje drugi, który grajac slyszy
w sluchawkach, partie zarejestrowane przez poprzednika, nastepnie
trzeci (a w tym przypadku wlasciwie trzecia) dogrywa swoje,
sluchajac co powstalo z polaczenia obu powstalych wczesniej
sciezek, no i na koniec gra czwarty z muzyków, który
doklada swoja cegielke - oczywiscie, jak mozna sie spodziewac,
slyszac nalozone na siebie trzy "warstwy" muzyki.
Po zlozeniu wszystkiego w calosc, mozna konstruowac kolejne
piec nagran. Powstawaly one wedlug podobnej zasady, tyle tylko,
ze oprócz poprzednika lub tez poprzedników - zalezalo
to od tego, którym byl z kolei - kazdy z improwizatorów,
slyszal równiez poprzedni utwór. Jednak wczesniejsze
nagranie nie stawalo sie, przynajmniej w sposób doslowny,
skladnikiem powstajacego - na dane, w kazdym przypadku, skladaly
sie tylko cztery sciezki. Nieco odmienna byla geneza utworu
ostatniego. Otóz, gra w nim jednoczesnie caly kwartet,
sluchajac przy tym utworu numer szesc. Oczywiscie natychmiast
nasuwa sie pytanie: czy ta róznica jest zauwazalna ?
Byc moze ucho bardziej wprawne od mojego ja wychwyci, ja jednak
jej zbytnio nie odczuwam. Zwróce uwage na jeden aspekt
- choc byc moze nie jest to stan faktyczny, a jedynie to zludzenie
spowodowane sila sugestii - wydaje mi sie, ze utwór ostatni
charakteryzuje nieco bardzie plynny przebieg; swoista ciaglosc
- nawet pomimo pojawiajacych sie tu i ówdzie pauz lub
chwilowych wyciszen - dzwieków wydobywanych z poszczególnych
instrumentów. Aczkolwiek moze to tylko zludzenie....
7x4x7 wypelnia muzyka, bedaca w pewien sposób pochodna
tego, co okresla sie mianem "berlinski redukcjonizm".
Jest ona jednak, byc moze za sprawa perkusisty choc chyba nie
tylko, bardziej niz zwykle gesta i wyrazniej nakreslona. Oczywiscie
jest to wciaz muzyka niezwykle introwertyczna, oparta na nieustannej
interakcji pomiedzy dzwiekami, tymi cichym i tymi glosniejszymi
oraz, w tym przypadku krótkotrwala, cisza, jednak zaskakujaco
czesto pojawiaja sie w niej niezwykle intensywne tony. Nagrania
rozgrywaja sie w swiecie zawansowanych technik artykulacyjnych;
poswiecone sa w jednakowym stopniu kreowaniu nagrania, co nieustannej
eksploracji mozliwosci sonorystycznych instrumentów.
Wszystko to razem powoduje, ze muzykom udalo sie stworzyc swoiscie
pojmowana przestrzen, w której swobodnie sie poruszaja
wzajemnie sie dopelniajac, najwazniejsze jest jednak to, ze
potrafili nadac muzyce wymiar osobisty. 7x4x7 to niewatpliwie
udana plyta, do siegniecia po która zachecam. Nagrana
przez kwartet, w skladzie którego znalezli sie klarnecista
Michael Thieke, saksofonista Alessandro Bossetti, flecistka
Sabine Vogel i perkusista Michael Griener (wymienieni zgodnie
z kolejnoscia rejestrowana swoich partii), stawia przed nami
pytanie o granice muzyki improwizowanej. Nie wiem, czy tak powstala
muzyke mozna jeszcze zaliczyc w jej poczet - to zreszta wydaje
sie byc glownie problemem dla teoretyków - wiem natomiast,
ze czwórce mlodych muzyków, z których najbardziej
znany jest Bossetti, udalo sie to co najwazniejsze, czyli stworzenie
nagran, które sledzi sie z nieustajacym zainteresowaniem,
w pelni akceptujac to, co dobiega z glosników.Jesli podczas
sluchania znajda Panstow chwile czasu, to prosze zastanowic
sie nad tym, jaka role pelni Michael Thieke, muzyk, który
grajac jako pierwszy, wprawia wszystko w ruch: czy jest demiurgiem,
czy tylko skromnym kamieniem dajacym poczatek lawinie ? Chetnie
poznalbym Panstwa opinie.
Tadeusz Kosiek , Diapazon
Two releases from the intriguing Portuguese label Creative Sources,
each with bits and pieces to recommend it, each with the sort
of commonly found flaws one comes to expect in this area of
music.Schwimmer is a quartet comprised of Alessandro Bosetti
(soprano sax), Michael Thieke (clarinets), Sabine Vogel (flute,
bass flute, piccolo) and Michael Griener (percussion). The album
title alludes not only to the seven tracks by the four musicians
but also, one assumes, the 7-minute limit imposed on each improvisation.
I’m a big fan, generally speaking, of the idea of “restricted”
improv, where players must contend with certain rules or meta-musical
conceits, but the notion of simple time limits strikes me as
somewhat trivial. Bosetti is the only member whose work I’ve
been fairly familiar with and, as before, I tend to find his
approach a tad or two on the academic side for my taste. This
dampens the enjoyment I otherwise derive from the sound developed
by the three winds which, much like that heard on the Dörner/Kelley/Neumann/Rainey
disc, “Thanks Cash”, is inherently appealing and
simply fascinating to listen to. Indeed, I thought much of “7
x 4 x 7” would have been better served without Griener’s
presence as his contributions, reminding me in some ways of
Tony Oxley’s more delicate work, lend the tracks an air
of British 60s free improv, a coloration that doesn’t
particularly enhance the rest of the music. As one might expect,
the improvisations are all rather quiet with plenty of breath-tones,
flutters, bubblings, sputterings, etc. which is all well and
good and, in fact, the pieces cohere fairly well. As pure sound,
they’re enjoyable enough, as music that evinces any real
passion to exist, they’re lacking, coming off as a bit
dry, a little calculating.
Bagatellen
In the second half of the 1990s, the new "reduced"
aesthetics pursued by Radu Malfatti and others threw down a
fundamental challenge to the world of improvised music. Within
a few years, a number of the original explorers of "reductionism"
had begun to move beyond the principles and practices that had
initially defined this austere musical movement. In issue 89
of Musicworks magazine (Summer 2004) the Berlin-based trombonist
Robin Hayward observed that "by 2000 I was feeling in a
cul-de-sac with the much reduced, static music I was producing"
and explained how he subsequently sought to break his self-imposed
rules by, amongst other things, including an element of narrative
structure. More generally, the question of how a viable and
relevant musical improvisation for the start of the 21st century
should be approached in the light of the aesthetics, techniques
and insights of reductionism (and their limits) has arisen not
just amongst those identified (usually by others) as 'reductionists'
but also a number of thoughtful musicians across the improvised
music spectrum. To a degree, each of the three …latest
releases on Lisbon's industrious Creative Sources label can
be seen as a response to this musical problem.
From the heart of Berlin's reductionist community comes Schwimmer,
a quartet comprising Alessandro Bosetti (soprano sax), Michael
Thieke (clarinet), Sabine Vogel (flute) and Michael Griener
(percussion). In recording 7x4x7, the group utilized an unusual
method. To quote Bosetti's sleeve notes: "a player (clarinettist
Michael Thieke) played and recorded a seven minute long solo.
A second player overdubbed a seven-minute long solo over this
statement while listening to it. A third musician overdubbed
onto the two previous tracks a third segment and so on in a
chain reaction that leads to a longer structure (which could
be reconstructed by those willing to do so, through the amazingly
detailed graphic description on the CD jacket, an artwork in
itself)". The effect of this procedure is to destroy any
element of contemporaneous collective interaction; moreover,
the task of ascertaining at any given moment who is alive to
whom and who is merely providing a backing track surely imposes
too great a cognitive burden to be compatible with enjoyment
of the music. In consequence, the listener must abandon any
hope of detecting and appreciating any substantive element of
ongoing group interchange and collaboration and turn instead
to the work as a mere sonic artifact. It's something of a surprise
to find that the sound object so laboriously constructed rather
resembles that of an ordinary improvisation (except, of course,
without any element of extemporaneous collective engagement
to be entered into by the listener). The sleeve notes indicate
that the work was intended to explore the musical dimension
of space by means of both the recording method plus "close
miking, multiple miking, spreading many loudspeakers throughout
the room [and] the virtuoso and massive use of noise and extended
techniques", but none of this succeeds in opening interesting
spatial dimensions within the recording. The reductionist vocabulary
of exhalations, flutters, scrapes, etc. is duly employed in
various combinations and densities, but what emerges seems uninspired,
stilted and somewhat rambling. It also on occasions falls back
into arrangements that resemble the quieter end of 1970s groups
such as the Spontaneous Music Ensemble. […]
Wayne Spencer, Paris Transatlantic
Schwimmer Konzertrezension
Musikalischer Wasserkreislauf
„Schwimmer“ mit Improvisationen
Die 107. Ausgabe der Reihe Improvisationen präsentierte
eines der innovativsten Projekte der experimentierfreudigen
Improvisatoren-Szene Berlins. Im MIB-Saal gastierte das Quartett
„Schwimmer“, eine Formation aus drei Holzbläsern
und einem Perkussionisten.
Sofort fällt im Vergleich der Akteure ein unterschiedlich
gearteter Purismus ins Auge. Michael Grieners Schlagzeugset
könnte winziger nicht sein: Es besteht aus einer Pauke,
die der gleichsam im traditionellen Jazz wie in der Improvisation
geschulte Schlagzeuger vorrangig als Resonanzraum benutzt. Dafür
bearbeitet Griener das Fell mit einer Armada typischer (Sticks,
Becken, Glocken, Schlegel, Schellen) und untypischer Perkussionsinstrumente
wie Ketten, Flummis, Tapeziermesser, einer Metallschüssel
mit Bogen oder zwei Styroporkugeln, deren Einsatz nichts für
Quitsch-Phobiker ist. Ähnlich auffällig Michael Thieke,
denn auch der Klarinettist arbeitet mit einem Resonanzraum,
der seinen Ton in ein mitunter fast elektronisch anmutendes
Volumen potenziert-sein Mikrofon ist in einen mitschwingenden
Holzrahmen mit flexiblen Oberflächen eingebaut, die auch
direkte Berührungen abnehmen und „vergrössern“.
Im Vergleich mit den Partnern wirkt das Spiel der Flötistin
Sabine Vogel relativ klassisch. Variation geschieht hier vor
allem durch Wechseln der Stimmlage zwischen Bass-, Quer- und
Piccoloflöte. Dagegen offenbart das Spiel von Alessandro
Bosetti einen introvertierten Minimalismus. Mit seinem häufig
gestopften Sopransaxophon erforscht er Klänge des Inneren
und entdeckt auf diese Weise- beispielsweise durch Modulation
des Luftstroms oder den variierten Sound des blubbernden Kondenswassers-
einen Klangmikrokosmos.
Aus ihren persönlichen Anlagen, die allesamt einer Art
erweiterten Minimalismus verkörpern, erzeugen die Akteure
Klangreisen mit weiten Spannungsbögen von Apathie bis Aggression,
zwischen Askese und Alarm. In den Sätzen bietet sich dem
Assoziationshungrigen das Bild des Schwimmers (oder besser:
Schwimmgruppe) an, der in einem offenen Wasserkreislauf die
Reise des industriell genutzten Elementes miterlebt- vom tröpfelnden
Regen, über den sanften Quell und den sprudlneden Bach,
über reißende Stromschnellen und einen zerstörerischen
Wasserfall geht es in einen stillen See und von dort aus in
das Innere einer Dampfmaschine, aus der es wieder aufsteigt.
Andre Hesel, Bremer Zeitung 05/2005
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