Alessandro Bosetti: Sopransaxophon
Michael Griener: Schlagzeug
Michael 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 zur Unhörbarkeit.
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 unmöglich machen.

CD release von SCHWIMMER im Juni 2004:
CS 013 creative sources

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 each listen.

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 and colourful.

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 techniques.
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 is played.
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, never frustrated.
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

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