Michael Griener: Schlagzeug
Thieke: Klarinette, Altklarinette
Sabine Vogel: Flöten
Der Klang des Atems ist für die Musik von SCHWIMMER von
essentieller Bedeutung. Das Quartett beschäftigt sich
mit der Organisation von Klängen im Raum an der Grenze
Ein Hauptschwerpunkt in der Arbeit von SCHWIMMER liegt in
der Sensibilisierung des Hörens durch die Verstärkung
ansonsten unhörbarer Klänge und die Verschmelzung
von vorgefertigtem Audiomaterial und improvisierten Klängen.
Durch Reduktion in den verwendeten Parametern ensteht eine
höchst fragile Musik, in der solistische Aktion zurücktritt
zugunsten eines homogenen Gruppenklanges.
SCHWIMMER entwickelt durch verschiedene Improvisationskonzepte
eine eigene Form der musikalischen Interaktion
In Konzerten arbeitet SCHWIMMER mit verschieden ausgerichteten
Lautsprechrgruppen, die die Ortbarkeit der Klänge nahezu
CD release von SCHWIMMER im Juni 2004:
SCHWIMMER - 7X4X7
CS 013 creative
Recorded 9/2/2003 by Ronny Trocker at studio P4, Berlin
Total Time 48:37 © 2004
Cover design: Asi Föcker
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)......
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 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)....
.....there is a subdued power to this music that grows with
Jason Bivins (Dusted magazine)
....Hardcore Reductionists of 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
Dan Warburton (THE WIRE 10/2004)
Space as a musical parameter is something that has long
been neglected in recordings of acoustic improvised music.
Since, dynamic, attack, sound-color, rythm and duration are
commonly regarded as the elements that "constitute"
and give form to what you find in such a recording, the feeling
and the use of space has been seldom fully considered.
In this extent "Space" has been commonly regarded
as an "effect" that could be added to a work in
the postproduction phase.
The working practice of the Berlin based ensemble "Schwimmer",
contrary to the prevelant use of space in musical terms, is
focused on the conscious handling of space perception in sound
as one of the most determining elements of the musical discourse.
The four members of "Schwimmer" use microphones
and loudspeakers in creative, unconventional ways. Close miking,
multiple miking, spreading many loudspeakers throughout the
room, all strategies which are utilized by "Schwimmer"and
work to alter the listening relation between the players and
listeners by displacing and partially isolating them, as well
as letting their instrumental practices "explode"
through the virtuosistic and massive use of noise and extended
The actual space of the performace is each time manipulated
allowing for the creation of illusory spaces within the perception
of the listener.
This recording features one of those strategies : 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's jacket,
an artwork in itself).
Due to accurate and close miking, and to the separation of
tracks, every instrument seems to refuse being located "somewhere"
and starts instead to become the illusory space wherein it
Many fine textures emerge, developing fluidly throughout the
full length of the cd. The detached and out-of-synch nature
of the reactions between the players, produce a wide sense
of freedom in musical terms, lightness and abstraction though
collective listening and interaction seems always possible,
For those who think that improvised music with acoustic instruments
has lost its focus and the ability to renew itself in the
electro-acoustic era, may find through this recording a fine
and mature occasion to change their opinion.
Alessandro Bosetti, June 2004