Trio Sowari's second recording, subtle interactions using a wide palette of sound and approaches, mixing electronics and acoustics in amazing improvisation.
Squidco Moving Sale (1)!
Buy 1 or more item(s) from the sale, Take 20.00% Off
(checkout price: $12.76)
Shipping Weight: 5.00 units
Quantity in Basket: None
Log In to use our Wish List
Catalog ID: P208
Squidco Product Code: 11208
Condition: Sale (New)
Packaging: Jewel tray, not sealed.
Recorded on november 28-29th, 2006 at La Muse en circuit (France).
Phil Durrant-software samplers, treatments
Bertrand Denzler-tenor saxophone
Burkhard Beins-percussion, objects, small electrics
Highlight an artist name or instrument above
and click here to Search
1. Piercing #1 0:21
2. Piercing #2 0:28
3. Piercing #3 1:02
4. Piercing #4 1:21
5. Piercing #5 0:50
6. Britzefeld 5:03
7. Corridor 3:14
8. Dots #1 9:52
9. Triton 6:07
10. Vitesse 1:32
11. Trespassing 8:51
12. Dots #2 9:24
13. Moving Targets 5:02
European Improv, Free Jazz & Related
lowercase, micro-improv, sound improv
Staff Picks & Recommended Items
Objects and Home-made Instruments
sample the album:
"In their ear-stinging adherence to the rules of regimented severity as far as the absence of cuddling timbres is concerned, Trio Sowari (Phil Durrant, Bertrand Denzler and Burkhard Beins) are an inflexible unit, uncompromising representatives of non-indulgent perception working with software samples, treatments, tenor sax, percussion, objects and "small electrics".Shortcut begins with a programmatic declaration of sorts, five razor-sharp pieces aptly titled "Piercing" which, despite the extremely short duration, point to a field of activity where a cold impassiveness in front of any kind of emotion is the rule to comply with.
Freezing whispers, tiny lacerations of silence and articulated pops revealing the exact diameter of the originating conduit are put adjacent to practically invisible percussive gestures; movements comparable to someone who, wide awake in the dead of night, decides to start fiddling the insides of a miniature vessel with the poise and the calmness necessary to avoid waking up the rest of the family. Rarely the presence of an uninterrupted sound can be appreciated, if you happen to consider the harmonic features of a two-minute buzzing hum as such. Let's not forget it: a well placed drone puts inexplicable mechanisms of our consciousness in motion; the cause is still to be exactly determined, but there must be a reason if so many artists are drawn to that type of secretion.
In "Triton" the deficiency of rhapsodic fervor is denoted by empty simulacra of desolateness, the sources combining in swelling surges of petrifying subterranean vibrations and reticent frequencies, while Trespassing echoes the sterility of humanity's fruitless seeking for divine attributes in their insignificant existence through dampened bumps and soft bounces amidst barely variable currents of unmusical resonance. "Dots #2" shuts every door to any residual hope of comprehension, impenetrably inhuman vestiges of what we used to call "notes" diffusing a rational pressure in the environment, undetectable poisoning fumes in an only apparently clear sky."-Massimo Ricci
• Show Bio for Bertrand Denzler
"Bertrand Denzler is a tenor saxophone player. He has played in Europe and Latin America both as a solo act and with musicians such as Xavier Charles, Peter Frils Nielsen, Jean-Luc Guionnet, Barry Guy, Ninh Lê Quan, Urs Leimgruber, Günter Müller, Bob Ostertag, Norbert Pfammatter, Hasse Poulsen, Mark Sanders, Mathieu Werchowski, and Otomo Yoshihide. He is a member of the groups Hubbub, Nanocluster, Laps, Denzler-Mariage, A3/1, and Chamaeleo Vulgaris. He has put out a number of compact discs on various labels."-ActuelleCD.com (http://www.actuellecd.com/en/bio/denzler_be/)
^ Hide Bio for Bertrand Denzler
• Show Bio for Burkhard Beins
"Burkhard Beins, born 1964 in Lower Saxony, lives in Berlin since 1995. As a composer/performer working in the fields of experimental music and sound art he is known for his definitive use of percussion in combination with selected sound objects. Furthermore, he works with live-electronics/analog synthesizers and has conceived several sound installations.
Since the late 1980's he is performing at internationally renowned venues and festivals throughout Europe, America, Australia and Asia as diverse as the LMC Festival (London), Int. Ferienkurse (Darmstadt), SKIF (St. Petersburg), Musiktage (Donaueschingen), Musique Action (Nancy), Choppa Festival (Singapore), Cave 12 (Geneva), The Now now (Sydney), ZKM (Karlsruhe), Kaleidophon (Ulrichsberg), Kid Ailack Music Hall (Tokyo), Gaudeamus Festival (Amsterdam), Liquid Architecture (Australia), Meteo (Mulhouse), Taktlos (CH), Berghain (Berlin), Konfrontationen (Nickelsdorf), Serralves (Porto), Wien Modern (Vienna), MoMA (New York), New Music Festival (Hanoi), Irtijal (Beirut), or Maerzmusik (Berlin).
Alongside his solo work he is a member of the ensembles Polwechsel, Activity Center, The Sealed Knot, Perlonex, Sawt Out, Trio Sowari, Tree, Junk Orbit, Fracture Mechanics, and Splitter Orchester and also works with composers/musicans such as Sven-Åke Johansson, Andrea Neumann, Keith Rowe, Axel Dörner, Tarek Atoui, John Tilbury, or Charlemagne Palestine.
Burkhard Beins gives workshops based on his graphic score system Adapt/Oppose, has published several articles on music theory, and is a co-editor of the book "Echtzeitmusik Berlin - Self-Defining a Scene" as well as the curator of a follow-up 3CD compilation featuring the Berlin Echtzeitmusik scene. Meanwhile he has released more than 50 CDs and LPs on labels like Zarek, Erstwhile, 2:13 Music, Hat Hut, Potlatch, Absinth, alt.vinyl, God Records, Mikroton, or Confront."-Burkhard Beins Website (http://www.burkhardbeins.de/cv.html)
^ Hide Bio for Burkhard Beins
Search for other titles on the Potlatch label.