Drummer and composer Jonathan Delazer introduces his trio Göttliche Skizzen with Dingi Ringd Coint, bringing together tenor saxophonist and clarinetist Tobias Delius and double bassist Jakob Obleser for eight original compositions exploring the relationships between microtonality, rhythmic structure, and collective improvisation. Drawing inspiration from medieval troubadour music, traditional European folk dances, and the glissando techniques associated with composer Gloria Coates, the trio approaches musical form as an evolving process in which fragments of melody, rhythm, and texture gradually develop into larger structures.

Delazer's compositions provide a framework for the contrasting instrumental voices of the ensemble, with Delius moving between the expressive range of tenor saxophone and clarinet, Obleser contributing resonant bass lines and subtle harmonic movement, and Delazer shaping the music through intricate percussion and shifting rhythmic patterns. Microtonal intervals, gliding pitches, and unconventional relationships between the instruments create a distinctive musical language that draws equally from contemporary chamber music and the traditions of European free improvisation.

The album's title evokes the sounds and movements of a three-part rhythmic sequence, reflecting Delazer's interest in the relationship between sound, gesture, and musical organization. Throughout the recording, carefully considered compositional ideas coexist with spontaneous interaction, allowing melodic fragments and rhythmic patterns to be continually reshaped by the performers.

Recorded in Berlin in May 2025, Dingi Ringd Coint presents a trio concerned with the possibilities of music as an unfinished, continually developing form, combining historical musical references with contemporary experimental techniques in a distinctive exploration of sound, rhythm, and collective expression.

"Microtonal fragments that coalesce into rhythms and melodies. In this process, the divine becomes the idea of the absolute. As a conception of the still unfinished, as well as fragments that form a whole. This duality between the perfect and the processual runs as a counterpoint through the debut album "Dingi Ringd Coint" by Jonathan Delazer's trio "Gottliche Skizzen." Like Renaissance sketches as drafts for the Absolute, for a utopia of the imaginable. Dingi Ringd Coint becomes the onomatopoeic melody of a three-part sequence of movements on the drums, as a rhythmic trinity. It is a journey through medieval troubadour music, traditional folk dances, and the glissando notations of American composer Gloria Coates, in which the notes and intervals on open, differently tuned strings are connected by a continuous glide."-Maxi Broecking