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Klaus Kugel (d), Joe McPhee (s), John Edwards (b)

September 29, 2017. Manufaktur Schorndorf. Photo by Martin Schray

Luis Perdomo (p), Yasushi Nakamura (b), Jon Irabagon (s), Rudy Royston (d)

October 5, 2017. Karlsruhe, Tempel. Photo by Martin Schray

Mat Maneri (v) & Joelle Leandre (b)

September 27, 2017. Zürcher Gallery, NYC. Photo by Paul Acquaro

Oren Ambarchi (g, electronics)

October 3, 2017. Klosterkirche, Lobenfeld. Photo by Martin Schray

Vijay Iyer (p), Mark Shim (ts), Stephan Crump (b), Steve Lehman (as), Marcus Gilmore (dr), Graham Haynes (co)

October 15, 2017. Mannheim, Alte Feuerwache. Photo by Martin Schray

Friday, January 19, 2018

Ivo Perelman & Matthew Shipp – Live In Brussels (Leo, 2017) *****

By Martin Sekelsky

I remember the sunny spring day, traveling to Brussels to see Ivo Perelman (tenor saxophone) and Matthew Shipp (piano) perform in – much celebrated (here, here, here, here, here, and here) – duo format. Timely arrival secured me a spot at the bar to the side of the stage with first line view of the keys. The venue, an art-deco style bar and art gallery, was soon stacked to the brim with both enthusiastic familiar faces and curious individuals. The duo would perform two sets, we were in for a treat.

Perelman and Shipp took the stage as one voice. Both musicians radiated an enormous understanding of and feeling for each other. Shipp modulated between melodic and percussive phrases, instantly replied by Perelman. Vice versa, tenor saxophone added exuberant color or intimate feeling that were keyed in musical imagery. Both musicians initiated musical motifs and explored and extended each other’s phrases, forming a coherent whole of sound. It was so breathtaking, this listener could not move. Most remarkably, both musicians truly enjoyed conversing to each other in the language they have been practicing together for many years. The duo even got so carried away the first set extended beyond its planned duration, finishing with a big smile on their faces. Quoting Ivo Perelman: “He (read: Matthew Shipp) just kept on playing.” Both sets were loudly applauded by the audience. Applause that was answered with modesty by the artists. This was true musicianship, they made it look so easy. Highly recommended, so happy this performance was sharply documented and released. Pick this one up, if you haven’t already.

This listener admits that he has only recently unlocked Ivo Perelman’s rich discography. Ignorance turns into bliss with every new, unearthed gem. Therefore, no extended comparisons were possible with other outings by Perelman-Shipp ± others.

P.S.: Top 10 list was already submitted before this one could be included.

Thursday, January 18, 2018

Arashi - Trost Live Series 001 (Trost, 2017) ****½

By Eyal Hareuveni

Two years ago the prolific Norwegian drummer Paal Nilssen-Love began to sell at his gigs limited-edition discs of his performances. Peter Brötzmann, who played on these recordings, contributed the spartan, minimalist design. Only the name of the musicians and the performance place were mentioned - a trio with Brötzmann and South-African trumpeter Claude Deppa from Cafe OTO in London and a duo with Brötzmann from Levontin 7 club in Tel Aviv. Nothing else. No names of the performed pieces, not even a label name.

Nilssen-Love’s initiative was adopted in 2017 by the Austrian label Trost. The first release of this new series of live dates keeps Brötzmann minimalist design, and it features another group of Nilssen-Love, the trio Arashi, with legendary Japanese reeds plater Akira Sakata and Swedish double bass player Johan Berthling, who have collaborated before with Nilssen-Love in the trio of Swedish pianist Sten Sandell. Arashi's performances was captured at Stockholm’s Fylkingen club in May 2017. Again, it is a limited-edition of only 200 discs, sold only at Arashi performances, plus a download option.

The word Arashi - 嵐 - means storm in Japanese, and this recording justifies Arashi's reputation as one of the most powerful, exciting working groups. Sakata introduces the first piece with an intimate, gentle solo on his alto sax, but it takes only one minute before Nilssen-Love colors this searching sax solo with a nervous pulse, and another minute until Berthling anchors the commotion with even tougher rhythmic mode. Then Arashi storms - literally - with an uncompromising force and intensity, as if its own energy produces even more addictive kind of energy, leading to an ecstatic and thunderous tour-de-force.

Berthling introduces the second piece with dark and deep-sounding arco solo. Sakata deepens this contemplative mode with his warm-sounding clarinet while Nilssen-Love adds subtle percussive touches. Arashi incarnates itself now as a chamber trio who suggests a surprising, emotional interplay. But this restless trio morphs its interplay again. Now, Nilssen-Love slowly and wisely ups the temperature with fast-shifting polyrhythmic drumming, while Berthling keeps bowing his bass, both offer a perfect sonic decoration for Sakata to deliver his eccentric, free-associative throat-singing. In this segment Arashi charges this piece with an mysterious, story-like narrative. But then Nilssen-Love begins an explosive drums solo and directs Arashi for the last series of fast, super intense assaults until these assaults melt in his ringing cymbals.

Fantastic trio, fantastic performances. Please, more of this right stuff.

Wednesday, January 17, 2018

Barry Altschul’s 3Dom Factor – Live in Krakow (Not Two, 2017) ****

By Gustav Lindqvist

Jon Irabagon - tenor and sopranino saxophones
Joe Fonda - bass
Barry Altschul - drums

Following the 2015 5th place album of the year here at FJB, Tales of the Unforeseen, here’s a live album from this great trio, recorded live at the Alchemia club in Krakow, Poland (December 4th, 2016). Long time jazz drummer Barry Altschul is joined by bassist Joe Fonda, again a veteran who’s played with Anthony Braxton, Leo Smith and Archie Shepp – just to mention a very brief selection. Again, an artist and composer of the highest order. Jon Irabagon is a new voice for me personally. I know of his playing on Mary Halvorsons 5-star album ‘Away With You’ but I must admit that outside of that and his work with Altschul, I don't know too much. Any pointers to other albums would be much appreciated.

The concert starts with ‘Martin’s Stew’ (from their first album). A 3+ minute drum introduction builds up to a boiling point, Fonda joins in and we’re off. Saxophonist Irabagon’s got a meaty sound that leads the way through this first song. There’s a theme which is twisted and turned inside out. The trio is insanely tight. Fonda switches to bow alongside the beat of Altschul and we’re treated with some very nice bass playing. I’m waiting for another explosion and sure enough – Irabagon comes thundering back in with that same theme, but this time it travels on top of Fonda’s bass. Exquisite!

‘Ask Me Now’, being a Monk standard, also heard on the trio’s sophomore album is treated very well and is presented in a balanced and elegant way. Up next is For Papa Joe, Klook, and Philly Too’ a nice nod to giants from the ‘drummer’s guild’. It’s hard bop on steroids with everything included, yes a very cool bass solo as well. The fourth song, ‘Irina’ is another mellow song which is one part Irabagon and one part Fonda, who’s beautiful and lyrical playing seduces me, until Irabagon comes back in. The rest of the song continues more like a serenade, but I suspect the 3Dom factor has another punch up their sleeve.

Indeed. The closing number, the 14-minute-long ‘The 3Dom Factor’, is how I’ve learned to enjoy this trio the most. Like a well-oiled train they’re steaming and flying across the stage at a blistering pace. Suddenly there’s three unique voices making themselves heard, going in and out of each other’s ideas. Suddenly the trio comes to a change of pace, and I almost expect the song to come to a halt, but it’s all planned. Increase of pace and they’re off again. Irabagon charges onward for another run of stuttering notes, Fonda takes a turn together with Altschul. A dissonant balancing act immerses. There’s such an amount of detail in this song. Irabagon surprises me with reinventing the tune again and again, and Altschul and Fonda are truly up for it. Altschul’s charging onward, forward, upwards. The song seems to run out of its own notes and this great live performance album is over.

I’m hoping to hear more from this trio soon, this live performance demonstrates a trio in very nice shape and form. I can also highly recommend their 2 studio albums, and I'm looking forward to hearing more from Irabagon!

Tuesday, January 16, 2018

Hans Peter Hiby/Michael Bardon/Paul Hession - Roots (NotTwo, 2017) **** ½

By Martin Schray

Saxophonist Hans Peter Hiby is one of the great mysteries in Germany’s free jazz scene. He grew up in Wuppertal, in the kindergarten he met Caspar, Peter Brötzmann’s son, they were like brothers. He spent a lot of time at the Brötzmann’s home, where he came into contact with jazz. Peter Brötzmann got him his first tenor saxophone, took him to his concerts, and Hiby was fascinated by the sheer energy and ferocity of free jazz. Albert Ayler, Sonny Rollins, John Coltrane, and Brötzmann himself, became his major influences.

In 1988 and 1995 Hiby released two very good albums, The Real Case with Paul Hession (drums) and Live in Bremen with Johannes Bauer (trombone), Marcio Mattos (bass) and Martin Blume (percussion). He played with a lot of great musicians like Peter Kowald, Sirone and Louis Moholo, he was up and coming. But then there was an abrupt stop.

Hiby chose to focus on his family, he decided that it was better to work in “regular“ jobs. In the beginning he tried to play and work at these jobs, but he soon realized that this was impossible. He even stopped going to concerts because he couldn’t stand watching others play. He says that these were hard times. In 2013 the kids were old enough to lead their own lives and Hiby wanted to try making music again. At the beginning of 2014 he rent a small practice room but playing was tougher than he thought. He had lost his embouchure, his fingers were stiff and he had a biceps tendon rupture that caused pain when he tried to turn his arm for certain half-tones. Yet, he was persistent and after one and a half years he played his first concert after the break, a duo with Martin Blume. Then he was offered to play with a trio at the Wuppertal Jazz Meeting, so he asked bassist Dieter Manderscheid and his old pal Paul Hession. Hiby was unsure if a trio could work, but the gigs (the following day they played at the Loft in Cologne) were great. Here at the latest it was clear that he couldn’t live without making music - preferably with a trio.

In September 2016 Paul Hession organized a small tour through Great Britain, but unfortunately Dieter Manderscheid had no time. Hession suggested a young, talented Leeds-based bassist with whom he had played several times - Michael Bardon. The tour went fine, the music was immediately intense and tight. So they decided to record an album at the Loft in Cologne in June 2017.

And what an album Roots is. The music is completely improvised, Hiby only said that he also wanted some shorter tracks, not just an endlessly long session. On the one hand there are the full throttle pieces like “Riff-Raff“, the opener, “Ding an sich“ and “King Falafel“. Hiby ejects smeared phrases, crassly overblown lines and vibrato-drunk notes as if he wants to express everything that’s been in him for the last 17 years. There’s no time to grab a breather, it’s 100% pure joy, breakneck speed, real fire music. On the other hand there are the balladesque and contemplative ones, “Roots“, “Timeless“, “P.J.“ (dedicated to Hiby’s son) and “Noumenon“. These tracks are clearly influenced by gospels and the blues, even the melodies of Brötzmann’s later albums shine through. Hiby is rather playful here, the band oscillates between spirituality and a certain cool nervousness. “The Worm“, the largest track, brings the two worlds together - the scintillating sounds, blurred themes and motives that rise from the low registers to jubilant screams. All this is accompanied and supported by Bardon and Hession, who protect the ballads from getting too dreamy by setting sharp counterpoints and support Hiby’s runs with feverish arcoing and rumbling rhythms during the wilder tracks.

Roots is my comeback album of the year, it’s a real treat for fans of Dave Rempis, Mats Gustafsson or Ken Vandermark.

You can buy the album from the label website:

Listen to “Timeless“ here:

Monday, January 15, 2018

Mark Dresser - Modicana (NoBusiness, 2017) ****½

By David Menestres

Modicana is the new album from the legendary bassist Mark Dresser. If you’re a fan of free jazz, or a regular reader of this blog, you’ve probably encountered his playing. Dresser was one of the members of Anthony Braxton’s legendary quartet from 1985-1994 and has played with an impressively long list of master musicians including Nicole Mitchell, Myra Melford, Marilyn Crispell, and hundred (thousands?) of others. And thankfully, Dresser took over teaching duties when the master Bertram Turetzky retired and is now influencing another generation of players at the University of California San Diego.

Modicana is a record of solo bass, following in the tradition of Dresser’s earlier solo work like Guts: Bass Explorations, Investigations, and Explanations (2010) and Invocation (1994). Two of the tracks on Modicana were recorded live at the Umea Jazz Festival in October 2016 (“Inocation Umea” and “Threaded”) and the rest were recorded in mid-February at UCSD.

The A side starts with the opener “Invocation Umea” which does exactly what the title suggests, setting the stage for the rest of the album, developing a few ideas to their extreme over the course of its eleven and a half minutes, showing the listener that the path ahead won’t be easy but will be highly satisfying.  “For Glen Moore” is as beautiful a tribute as you’d expect for the bassist mostly known for his playing with the group Oregon. The melodic content is strong and unexpected, warping around the fingerboard, twisting in unusual ways, fluttering like a leaf on the wind.  “Threaded” closes out the A side with an intense exploration of bowed bass.

The B side of the record starts with “Hobby Lobby Horse,” a deeply political track that first appeared on last year’s Sedimental You album (which featured one of the best septets ever recorded). The tune itself is relatively straight forward, but this new version is anything but. Dresser covers nearly the whole range of the bass in a wide variety of ways, and the absurd political content is perhaps even more apparent in this solo iteration.

The rest of the B side is comprised of a three track suite: “Modicana Teatro Greco,” “Modicana Shakeratu Non Zuccheratu,” and “Modicana Panettiere.” “Teatro Greco” features Dresser’s beautiful arco playing. “Shakeratu” features pizzicato, digging deep into the bi-tones Dresser has been exploring for decades, plus the briefest of prepared arco work that almost sounds like electronics. “Panettiere” close out the suite with moments of intensely quiet and distorted beauty .

An impressive album, recommended to all fans of adventurous music.

Sunday, January 14, 2018


By Dan Sorrells

For decades there has been a porous relationship between indeterminate composition and improvisation. Some improvising musicians have taken detours from contrapuntal, dialogic improvisation in favor of exploring indeterminate scores and concepts. Rather than embracing the creative freedom to “do whatever one wants,” these musicians sharply limit themselves, and instead embrace the micro-variations and imperfections that arise as they attempt to innovate (or struggle) within their tightly-defined boundaries.

The result is drone-oriented music that rejects some of the familiar procedures of other minimal improvisation like lowercase or EAI: there is no need to emphasize silence, negative space, or quiet sounds. What these types of improvisation do share is restraint, an emphasis on ensemble over individual, and a Schaefferian prioritization of sound “in and of itself.”

Here are three recent albums that stretch how far one can go without seeming to go anywhere at all.

Tom Chant – Stripped Abstract (Hairy Ear, 2017) ***½

Saxophonist Tom Chant’s latest, the first release on his own Hairy Ear Records, is a 45-minute “exploration of one single vaguely defined state.” Recorded with a percussion-heavy septet (three players each focus on a single element of the drum kit: snare, bass drum, and cymbal), Chant claims that the music “is a description of the state, through sound.”

The paradox of a performance like Stripped Abstract is how it is able to simultaneously convey movement and stasis. It feels alive and bristling, but also unchanging, as though each musician played a single energetic note that hangs indefinitely, divorced from time. As the piece wears on, one starts to get the eerie feeling that maybe the music wasn’t generated by seven human beings at all, but instead by a deep cosmic vibration pervading a collection of objects, some clattering and rattling (the percussion instruments), the remainder humming and ringing in the long tones of sympathetic resonance (soprano saxophone, ebowed acoustic guitar, arco double bass and no-input mixing board).

The piece simply evaporates at the end, which ironically may be its most effective moment. After three-quarters of an hour rewiring your neurons to the frequencies of the “vaguely defined state,” its sudden removal is a weird inversion of air rushing into a vacuum: the something of silence rapidly filling the void of sound. An intriguing exercise that I hope we’ll hear more of.

Carl Ludwig Hübsch – Rowetor 04 | Rowetor 03 (Tour de Bras, 2017) ****

German tuba player Carl Ludwig Hübsch describes Rowetor as a “musical concept inspired by Keith Rowe.” The purpose is to “explore” and “maintain” one static sound in the ensemble, and to interact with “care and openness for…change.” Rowetor is probably closest in conception to Giacinto Scelsi’s famous “Quattro Pezzi,” in that the ensemble largely limits itself to a single note and all development in the piece is relegated to the realms of timbre, density, dynamics, etc. Where Scelsi notated all of these changes, Hübsch’s ensembles explore them via improvisation.

Rowetor’s two discs each contain a long performance, recorded about nine months apart in Cologne. It’s a valuable document because it illustrates how a strategy that on its face seems very limiting can still generate incredibly diverse outcomes. This is because the performances feature different musicians and different instruments, although about half of the musicians were present for both. The 13-strong “Rowetor 04” (which is presented first) trades several wind instruments from the 14 member “Rowetor 03” for two guitars and a piano.

“Rowetor 04” feels like the soundtrack to a suspense movie, the underlying drone conveying dread and impending danger signaled by swells into higher registers. Perhaps inevitably, the piece lurches towards a modest crescendo, peaking in volume and density a few minutes before the performance concludes. “Rowetor 03” is more focused on high tones, with scraped metal and feedback intermingling. Overall, it’s rougher and louder in character than the more polished “04,” but it also feels more precarious: trembles and vacillations betray the fragility within many of its tones. Much of the tension is driven by a “string quartet” within the group: Sharif Sehnaoui’s acoustic guitar, Ralph Beerkircher’s electric guitar, Achim Tang’s electric bass, and Elisabeth Courdoux’s cello. Both pieces are effective reminders of just how much musical information is conveyed through elements other than the usual suspects of melody, harmony, and rhythm.

The Pitch – Frozen Orchestra (Berlin) (Arbitrary, 2017) ****

The Pitch are the quartet of Boris Baltschun on electric pump organ and “function generators,” Koen Nutters on double bass, Morten J. Olsen on vibraphone, and Michael Thieke on clarinet. At times, they expand for their “Frozen Orchestra” performances, as on the hypnotic Frozen Orchestra (Amsterdam) released by Sofa in 2015, and here, in a Berlin performance from 2013. Joining them in Berlin were Chris Heenan on bass clarinet, Matthias Müller on trombone, Biliana Voutchkova on violin, Johnny Chang on viola, and Valerio Tricoli’s subtly psychedelic echo-loops, courtesy of a Revox tape machine.

The Pitch is concerned primarily with slowly transforming “pitch constellations,” so while timbre is part of the equation, the ensemble is largely engaged in generating enormous, transmuting chords. As the melodic progressions unfold at a glacial pace, the listener perceives only the warm ambience of their rich, consonant harmonies. Tricoli adds an air of unreality to the proceedings, seemingly making the entire ensemble waver like an illusion just when you’ve settled in comfortably with their presence.

Despite showcasing a single performance, Frozen Orchestra (Berlin) was slightly edited and divided into four tracks for release as a double cassette. One could argue that something is lost by slicing up the concert, but there may be a benefit, too. The forced gaps actually make it a bit easier to perceive just how dramatically the music changes during the course of the performance, despite often feeling like it hasn’t been moving at all. Side D has the most noticeable development, with some prominent pitch changes and Olsen eventually shifting from bowed tones to single, ringing notes. The piece ends by slowly blinking out, like a battery drained of energy, or something slowly sinking into the blackest parts of the sea.

Saturday, January 13, 2018

Some statistics - Our readership keeps growing - Thanks for the loyalty

Last month we had a record viewership with 195,558 page views. On a normal day like yesterday, we had 4,953 page views. These statistics do not reach back to the early days of our blog (which started in January 2007), but the trend is increasing. Some years ago I thought we had captured the entire universe of global fans of free jazz and free improvisation, but that's clearly not the case, unless the number of fans is increasing, which is even better news. Since these statistics were started in May 2010, we have had no less than 7,546,926 pageviews. That is a lot.

We want to thank all readers for their loyal daily visits, the musicians for the great music we receive, and the labels and agents for sending us new music on a daily basis. We also wish to thank the reviewers for their enthusiastic writings.

Please follow us on Facebook and Twitter (@freejazzblog).

Lotte Anker - Plodi (Klopotec, 2017) ****½

By Stef

I like albums to have one single concept, instead of a collection of loose pieces, just joined together to fill the space of the CD or LP. So usually, this lack of unity gets sanctioned by one star less in the ratings. Except for this album. Why? Because it is so good, and because Danish saxophonist Lotte Anker is so good. 

The whole album is recorded at the Brda  Contemporary Music Festival in Smartno, Slovenia in September of 2016. The first three tracks are solo performances by Anker in the local Saint Martin's church. The next four tracks are duo performances between Anker and Slovenian master percussionist Zlatko Kaučič at the House of Culture. The duo is then joined by Polish musicians Artur Majewski on trumpet and Rafal Mazur on acoustic bass guitar for the last track. 

The solo performances by Anker are by themselves already worth the purchase of the album. In a little over thirty minutes, she demonstrates her skill of improvising compelling, emotional and lyrical sonic little stories. The first one agitated, the second more intense yet subdued, the third is technically really special with deep and high tones alternating. 

Her solo performances get my preference. Her tone is so expressive, beautiful and it contains all the vulnerability and hesitancy that is relatively unique to free improvisation. There is no need to hurry, and the pace is great, and Anker takes the time it needs to explore her initial concept, expanding it, increasing the power and the depth without loosing focus. No doubt these are among the most beautiful sax solo pieces to be heard. 

The dynamics change in her duets with Kaučič, with shorter bursts on the horn, the tone more abrasive, more violent, definitely in the first and third piece. The second is more cautious and sensitive. It shows a different facet of the same musician, challenged by the percussionist in a variety of ways, including many different objects, a zither, different ways of hammering his drumkit, and despite the intensity, she remains intrinsically lyrical. 

The third facet is to be heard with the quartet. The approach is real free improvisation, without conceived notions or structural foundations. Notes collide, explore and challenge, tentatively in the beginning, trying to find a common ground to move forward on, and the way it organically grows is interesting to witness, with increased momentum, intensity and cohesiveness, with both horns relentlessly propulsed forward by the bass and the drums, and all four musicians really go for it. Great to hear. 

But we have come a long way. We've travelled a journey in different steps from the initial intimacy, fragile and sensuous to the exuberant power of the quartet. A radical change in a too short period of time, but then each part is really good. For once, I will accept the conceptual breaks. And feel free to listen to the different parts separately. 

Without a doubt Lotte Anker's music is under-recorded. It would be good to hear more of her. 

Listen to Free Jazz on Air

Listen to Free Jazz on Air with Martin Schray with host Julia Neupert, broadcasted on German public radio station SWR 2 (Südwestrundfunk 2).

The show: "Free Fusion - Jazz rock in the Spin Cycle of Post Modern Times"

Contains music by:

Nels Cline Singers
Ava Mendoza
Mary Halvorson
Johnny Kafta Anti Vegetarian Orchestra
Carate Urio Orchestra
Kate Gentile
Flying Lotus ... and others.

And is available here until the end of the week.

Friday, January 12, 2018

Martin Küchen - Lieber Heiland, laß uns sterben (Sofa, 2017) *****

Martin Küchen knows how to pick titles. It already starts with the title of the album; “Lieber Heiland, laß uns sterben” or in English: Dear Savior, let us die. 

Küchen has furthermore selected titles for the tracks on this album with great care for choice of words and with a seemingly poetic intention. 

The Cathedral in Lund (small city in the south of Sweden, 20km north-east of Malmö) was consecrated in 1145, however the crypt which is considered to be one of the ‘oldest rooms’ in Sweden and the recording place of this album, was actually in use already in 1123, and built in 1121. The crypt is pretty much intact since its construction. I’m hoping to one day return to live there as the years living in this culturally and academically rich city was some of the best years in my life. 

You can walk around in the crypt ‘virtually’ if you head over to this website.

Reedist Küchen and sound engineer Jakob Riis went in to the crypt of the cathedral on an evening in May to make this album. It can be summarized as a journey inwards. It’s a calm space and a haven from a world that doesn’t have answers to the big questions of life and meaning anymore, yet seems to have no patience for the spaces in between words spoken. I feel that Küchen and Riis with this album opens the door to a room for reflection and with what’s heard on the album I’m offered time for contemplation and perhaps also thoughts about the big questions. The perishability of life is ever present, and accepted. Cheese and wine needs time to become tasty, interpersonal relations also need time to deepen and to become multidimensional. The sounds, screeches, breathing – even the ambience heard from around the cathedral – all fit into this concept of sounds happening there and then, but created in a historical context that is about 900 years old. I’m sharing my personal thoughts about how feelings I get while listening to this album. 

The album starts off with the title track ‘Lieber Heiland, laß uns sterben’ which immediately sets the tone for this album, with breath meeting a sacral melody line. It’s then followed by ‘Music to silence music’ which also has almost congested breaths moving alongside clicks and notes. The droning sound effects in ‘Purcell in the eternal Deir Yassin’ is calming and soothing. There’s an anticipation of something that I can’t put words to, it’s hard to explain. 

I first had a part in this review about how Bach’s “Ich ruf zu dir Herr Jesu Christ” (I call to you…) meets “Küchens Ruf zu mir Bezprizoni” (Call me…) but when editing and re-reading it, I found that this was mostly a conversation in my head. Küchen manages to get me to drift off in thoughts about how songs, music, sounds and titles fit together and what that means.

But in the last song ‘Atmen Choir’ (Atmen means to breathe in German) the cathedral bells start to ring, and I realize it’s not for me to draw lines between titles, historic facts and feelings. I’ll leave that to you. And pick this one up, it’s a fantastic release from Küchen.