Archiv der Kategorie: Review

New Review at Vital Weekly about zwei mal zwei

Frans de Waard wrote in Vital Weekly a review about Zwei mal zwei with  GREGORY BÜTTNER & ERNESTO RODRIGUES & NUNO TORRES, Thnks Frans! mal zwei

wei mal zweiA quartet of improvisers, and I am not entirely sure why it says ‚Zwei Mal Zwei‘, meaning two times two. Maybe it’s a reference to where these people are from? Two from Germany and two from Portugal? Or perhaps there is a regular duo for each of Büttner/Lettow and Rodrigues/Torres? I don’t know. The recordings were made on the 3rd of April 2014 in Hamburg and credits are thus: Ernesto Rodrigues (viola), Gunnar Lettow (prepared bass, guitar, electronics, objects), Nuno Torres (alto saxophone) and Gregory Büttner (computer, loudspeakers, objects fan). This is the department of careful improvisation and much of this works in the area of electro-acoustic sound treatments, even when it comes to playing the instruments as such. Each of these players consider his instrument(s) as a an object, a piece, an element that generates sound and together they craft some pretty intense stuff; they always listen closely to what the others are doing and respond and react when needed or simply do
nothing when required. Quite intense at various times, due to the amount of sound information and sometimes because due to it’s absence. That it perhaps contains all the usual things around such improvised matters, but in fact this is a great release. Intense, concentrated, but also playful and not entirely without humour. Quite a nice release indeed. (FdW)

Review auf Sound Projector

Und noch ein Review von Flakes auf The Sound Projector. Diesmal auf englisch.

 Flakes (1000füssler 021) is a tad different to the above works, in that it involves Gunnar Lettow actually performing on the electric bass and doing some live electronics, and it’s more like the document of a live action. Lettow turned his back on a promising career in the rock band Nice Noise just so he could pursue his “prepared bass” experiments, which means he uses the typical crocodile clips (purchased direct from Keith Rowe’s online store) and objects inserted into his strings, along with an array of effects pedals. However, his aim at all times is to produce forms of interesting noise rather than music, and he’s fond of microtonal events. Label boss Gregory Büttner joins him with an electric fan, a loudspeaker, and a low sine tone, making this a near-classic example of performed electro-acoustic noise improv, over speakers…so we’d have to throw in the word “acousmatic” too. Growly, groany, gritty noise…also very droney and object-centred. A shade more “controlled” than Amptext above, yet I like the way it’s full of unpredictable turns, and there’s a strong attention to detail, meaning that every single one of these 18 minutes is packed with meaning and event, and nothing is wasted.

Review von Bad Fallingbostel in Bad Alchemy

Vorschau von Bad Alchemy 82

GUNNAR LETTOW KORHAN EREL Bad Falling Bostel (Creative Sources Recordings, cs 264):

Dass Lettow, zuletzt gehört mit Gregory Büttner auf 1000füssler, türkische Connections schätzt, zeigte er schon im Zusammenspiel mit Umut Çağlar (von Dead Country). Allerdings braucht es für den Kontakt mit Erel nur den Weg nach Berlin, um dort etwa mit Liz Allbee und Chris Heenan im Sowieso zu spielen und dabei die Vertrautheit aufzufrischen, die von einer ersten Bekanntschaft 2011 in Istanbul herrührt und alljährlich mit kleinen Tours vertieft wurde. Erel setzt fürs gemeinsame ‚Salderatzen‘ und ‚Urschalling‘ Computer ein, Lettow hantiert mit präparierter Bassgitarre, Electronics und Zeug, das zum Krimskramsen und für perkussive Akzente taugt. Bass ist dabei ein Mittel zum Zweck, kein dominanter Klang. Eher meint man, da ab und an ein Blasinstrument fauchen zu hören, ein Keyboard, perkussive Wischer in der Manier von Burkhard Beins. Das Who is what bleibt meist im Unklaren, es surrt und vibriert mit- und ineinander. Vibrationen sind wichtig, kullernde und huschende Fluktuationen, zirpende Funkenwürfe, knirschende Wooshes. Inszeniert als Cybergeflipper akustischer Partikel in einer Blasenkammer. Jede Menge fitz und feitz, zack und ratz. Furzelige Kaskaden, schneller als das Ohr, rauschende Schmierer, metalloider Klingklang mit Mbiratouch, ricochetierende Meuchefitzel, flatterndes Gewackel, schnurrende Streusel, Mikrotreppenstürze. Viel additive und erratische Bewegung, jede Menge kitzlige Kur gegen Anfälle von Hüzün. [BA 82 rbd]