The two parts of "Spuren" from Swiss percussionist Christian Wolfarth cover each side in an album of concentrative timbre and strategy, evoking continuous sounds that are diverted into unexpected avenues, drawing the listener into trance-like states with rich resonance, tone, and malleable rhythms, then surprising with unforseen audio twists.
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Label: Hiddenbell Records
Catalog ID: 009
Squidco Product Code: 23861
Recorded in Zurich, Switzerland, 2015, by the artist.
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• Show Bio for Christian Wolfarth
Born 1960 in Zürich/Switzerland.
1982-1986 studies with Bob Cunningham and Billy Brooks at the Swiss Jazz School in Bern.
1992-1996 studies with Pierre Favre at the Conservatorium in Luzern.
1995 studies in Composition with Siegfried Kutterer in Basel.
Workshops with George Lewis, Alexander von Schlippenbach, Jojo Mayer, Han Bennink and others.
Since the middle of the 80th's he's involved in many projects between Jazz, improvised and written New Music.
Since 1991 he played many solo concerts in all over Europe and Russia.
Regular works with dancers above all with Nina F. Schneider and her dance company. (1994-2002)
He works for theatre, film and video.Collaborations and concerts with
Al Maslakh Ensemble, Claus van Bebber, Burkhard Beins, Christian Buck, John Butcher, Gene Coleman, Bertrand Denzler, Jacques Demierre, Michel Doneda, Axel Dörner, John Edwards, Donat Fisch, Christoph Gallio, Mich Gerber, Malcolm Goldstein, Eugen Gomringer, Barry Guy, Charlotte Hug, Jason Kahn, Hans Koch, Jonas Kocher, Tomas Korber, Annette Krebs, Fine Kwiatkowski, Joke Lanz, Urs Leimgruber, London, Improvisers Orchestra, Paul Lovens, Werner Lüdi, Michael Lytle, Paul Lytton, Enrico Malatesta, Albert Mangelsdorff, Michael Moser, Norbert Möslang, Günter Müller, Lauren Newton, Andrea Neumann, Lucas Niggli, Evan Parker, Simon Picard, Lê Quan Ninh, Ignaz Schick, Alex von Schlippenbach, Irène Schweizer, Christine Sehnaoui, Günther Sommer, Jürg Solothurnmann, Michael Thieke, Michael Vorfeld, Phil Wachsman, Christian Weber, Michel Wintsch, Michael Zerang, Ingar Zach, Alfred Zimmerlin and many others.Labels
His work is released on labels like: for4ears, formed, HatOLOGY, Leo, Klangbad, Presto!?, Rossbin, mikroton, Monotype, Quakebasket, hiddenbell, Creative Sources, Origin, Percaso, Wandelweiser, Unit and others.Festivals
Christian Wolfarth has played at some festivals such as:Festival Total Meeting (F), Festival Densités (F), Les Arts à Gahard (F), Wien Modern (A), Ulrichsberger Kaleidophon (A), Festival Pulsi (I), LEM Festival (ES), Störung Festival (ES), At Harbour (CR), Percussion Festival (RU), Skanu Mezs (LET), Musica Genera (PL), Festival Blaue Fabrik (D), ZAM Labor (D), Klangbad Festival (D), Humanoise Congress (D), Festival Rue du Nord (CH), Festival de la Cité (CH), Festival Akouphène (CH), Festival Archipel, (CH), Onze Plus (CH), Jazzfestival Willisau (CH), Festival ZweiTageZeit (CH), Unerhört (CH), Maiers Ohr (CH), Stanser Musiktage (CH), Festival SehnsOhr (CH), Knoten Festival (CH), TonArt (CH), Taktlos Festival (CH)"-Christian Wolfarth Website (http://christianwolfarth.ch/en/biography/?_wb=en/biography/&lang=EN)
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1. Spuren I 17:58
1. Spuren II 18:42
sample the album:
"Christian Wolfarth's work clearly thrives on tactility and manipulation. In Spuren he also applied some techniques to concoct and subsequently remodel the acoustic substance on offer. On the one hand, his instrumental expertness is in evidence; on the other, processes of cut-and-paste and natural-sounding looping furnish several sections with potent connotations: relievingly hypnotic a moment, almost suffocating the next.
In fact, there are dynamic surprises waiting for the listener. In the first side, the layering of twinkling tolling strata is broken by discrete interferences and sudden spurts where the mix's volume is abruptly increased, thus generating sequences of small conflicts and bigger clashes. These incidents are typically short-lived, ruptures utilized for the time necessary to radically alter the initial setting. At one point, all we're left with is a chain of shards of white noise-like frequencies; elsewhere we perceive a liquefaction of sorts of the entire textural mass.
The second half is largely typified by irregularly clattering sonorities, principally of skin and metal descent. The timbral variations are seen as parts of an ebullient totality, energies channelled into spurious fluxes where predictability is not a given. Magnetizing reflections and rumpled concreteness interact in a multitude of ways; improvisational wildness is nevertheless out of the equation. Rather, we observe the progressive accumulation of percussive deposits embedded in a deceivingly welcoming framework. A few dangers are presumably lingering around the corner; sinister cracks can be seen on the walls.
An absorbing record, as expected by an artist gifted with discriminating resourcefulness as Wolfarth has always shown himself to be."-Massimo Ricci, Touching Extremes
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