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| Discography
• 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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