Daktari is the young Polish group led by trumpeter Olgierd Dokalski. They just started to play together 2 years ago only ,but already work out their own recognisable style and managed to establish the name of the band across leading music magazines. Daktari means Doctor and the name had been borrowed from TV series title. But it is quite easy to remember and sounds dynamic too, so it does a job just right.

Group plays the music which is hard to classify. First coming to mind is a blend of Balkan Folk with a bit of Klezmer influence on the top married to jazz – rock fusion. But this is just a simple first association coming to my mind after listening to the debut recording. More I listen to it – more is coming out. Fusion is a good word here ,but it is so vivid and organic that it seems to be a bit meaningless in regards to sounds they create. Having roots anchored in punk ,improvised music and psychedelic scene and behind being DAKTARI running separate projects, musicians seems to bring much more to the table.

Opening Hiszpan (Spaniard) starts as a gentle folk tune but very soon it becomes counterpoint by phenomenally spacious and contemporary guitar sound-scape created by Miron Grzegorkiewicz . Tune turns into the repetitive fiesta which does not belong to Polish tradition in any meaning. Motive then becomes amplified by joining force with tenor ,and again electronic guitar plucking gives it tremendous drive and dynamic support.

Following Zanussi starts with spacious trumpet solo which reminds me Dave Douglas blowing ,but the tune goes like an armoured train bringing to your mind velvet underground rhythmic section married with Marc Ribot guitar ,to slow down to John Zorn plays Morricone like harmony. The following 45 seconds tune is like piano break (looped ) with shaking brass phrase. It is very illustrative and bringing completely different tension to the complexity of this recording.

Next is Pollux ,best example for Jewish influence with trumpet flying over folk motive ,but soon joined by Robert Fripp like guitar turns into some like one of Zorn’s Radical Jewish Culture discs . It might mean everything, from death metal like heavy tracks into lyrical solo melodies rounding around oriental origins. I am writing that to show the capacity.

Instead of going through all tracks I ‘d rather like to make as much findings about influence as I can. In this recording, there is lots. With full respect for originals ,there is no trace of simple imitation. Instead there is deep understanding of original harmonies and pure knowledge gained from. It is surprising that mostly tunes came out of trumpeter , as for me the harmonic structures build up by guitarist are what makes this program phenomena. Rhythm section is perfectly fine and nothing wrong can be said about. Just rock solid basement. Brass is what brings the colours to the music as expected. Led by trumpet ,with a lot of room to feel left for the sax player ( Mateusz Franczak). But what is really bringing drive to the project is a guitar.

Acoustical plans build by young players surprise me a lot as they are so creative and mature and really pointing a massive sonic imagination. His playing is very individual and brings to memory Robert Fripp ,Brad Shepik and irreplaceable Mark Ribot. Electronic guitar layers fall down like Sachiko M’s generator guns.. They wave ,they swing or counterpoint ,depends what is needed. And if is needed complains cadences too as well as joins brass section soundings just like one more reed. Excellent technique and imagination. I am looking forward to hear upcoming second release soon.

Personnel:

Olgierd Dokalski – trumpet

Mateusz Franczak – tenor saxophone

Robert Alabrudziński – drums

Maciej Szczepański – bass guitar

Miron Grzegorkiewicz – guitar

Latest recording from guitarist Michal Zygmunt is so fresh as fish only can be. Just picked up when it jumped out of water to launch shop shelves in middle Feb this year. This is a third disc in artists portfolio and I dare to say definitely the best. Albeit so consequent to what we already heard from him till date remains most ambitious project due to its complexity.

Zygmunt is properly educated jazz musician, but what counts more here he is very open minded explorer. Vast range of interests keep spicing up his notes. Inspirations come from every directions. I am not saying it is eclectic achievement in any meaning. More like its sparklingly blossom talent capable to blend different worlds together and make it its own language.

He’s been always deeply rooted in ethnic climates and kept travelling “around the world “ with his ears wide opened. Not only digging deep into his own origins which remains closer to Eastern Borderlands where his ascendency belongs than notoriously nomadic Lower Silesia when he finally decided to live.

Neither to say he took every lesson he could to develop his own sonic universe. His guitar is always telling stories which are simple ,but catching your soul. Here the core of the sound sets on Hawaiian like sounding strings. Tunes sound familiar. Some are quoting well known folk songs like track  But at Sunday immediately recognisable to every one who grown in Poland , almost like Green Sleeves are to native Brits. However clever bass riff around which floating trumpet makes its appearance bring it closer to opening of Trane’s A love Supreme rhythmic figure than the song with strictly ethnographic origins.

Opening Oder flies high on lovely and simple brass repetitions cascading over spatial and same frugal percussionist work ( Artur Dominik ). Similar Balkan background makes a core of following Why him? where progressive rock like guitar keeps dialoguing with trombone laments ( Tomek Kasiukiewicz ). Rhythm becomes more Afro in structure and stylistic starts to be more thickened .All reaches drum and base aesthetic at some points with modulated sounds here and there and ambient ,spatial soundscape.

Getting closer to Chromosomos like sound , the band from which few players originated and well know each other. Lovely, lovely and Swing are quiet ballads, both beautifully written with strong narrative structure. When first contains some of the best brass solos on this session ,second is pure finger work sounding almost like American Ray Cooder’s stories, mixed with Richard Leo Johnson’s up tempo tales which are too hot to be said using slower words.

Breaking up Kalina is some wonderfully looped brass choir playing its melancholic motif over percussion monologue occasionally joined by gentle aliquots coming out of leader’s guitar. Theme wanders lazily ,breaks and finds his way again, progressing into something different with every repetition.

Closing piece, With and against the Wind, played all with Zygmunt’s resonator guitar very close to mics changes direction once again on the very end bringing music closer to rhythm and blues tradition that it was possible to hear before. Here is lots of mixed personalities who brought a lot into this project. Some inspirations might look obvious, but then in blink of eye you lost again and trace from beginning. That’s wonderful, deeply emotional and intelligently played record which visits my spinner frequently as its charm put a spell on me.

All material sounds fantastic and had been recorded on the go with no post production and cuts during three separate sets. It is a big fun to follow changed set ups when you listening. All remains perfectly positioned and the space had been sketched breathtakingly during these sessions. Hard to say how much had been written in score as it is obvious that musicians interact spontaneously, particularly brass, and I wonder if I would ever hear exactly the same music if was  following band on the road. Definitely not.

This music is pure joy and I would recommend it to everyone with deeper sense of Trans as almost everything is there. From tribal steps which turning into dance to Nordic coldness and massive airy landscapes ala Nils Peter Molvar. And from your grandmother’s lullaby to Jewish festive spirit.

CLICK here TO BUY MICHAL ZYGMUNT MUSIC.

Recorded July 2011 at Auditorio Radiotelevisione svizzera, Lugano

“Equilibrium” is ECM debut of German – Canadian – Spanish trio. However they are playing together quite a long time and being continuously performing as well ,they manage to work out quite unique and tight style. Stylistically their music oscillating between improvisation cleverly merged to already written pieces. The point is that is hard to say many time listening to this record if we are really listening to collective improvisation or scores which had been written and well learned to play together. But looks like they or leader ,just wanted it like that.

Benedict’s pianism derive from rhythm fascination tradition and brings to mind Don Pullen or Kei Akagi. On today’s firmament he shares some qualities with Ethan Iverson of The Bad Plus, Michael Wollny, unforgettable Esbjorn Svenson or Nik Bärtsch. But in some high lyrical momentum one might hear echo of Jarret’s inspiration. However he still remains on the melody side more than a few mentioned above. Actually this is his way of employing melody into the rhythmic structure to give it a go is something which is a big part of his style. Spanish Bass men Antonio Miguel was studying with John Patitucci and his way of close following the piano is one of the hallmarks of the group and obvious result of lessons learned well. His interaction with pianist and constant support is absolutely fantastic and sounds as organic as it only can be. On the other hand drummer ,Owen Howard holds a lot from aesthetic of sorely missed Paul Motian.

It makes him ideal partner for piano trio approach even without mentioning other attributes. Like Joey Baron he is a careful listener and he keeps developing sound which is dynamically perfectly balanced with pianist’s conceptions. Also need to be said that all program from this recording came from Jahnel and looks like he left a lot of room for his trusted company to develop rather collective improvisation ,than trying to shine alone on section background. Opening Gently understood provides solid groove for the piece ,something usually left for bassist to do. Sacred Silence is a nice chilling out ballad sharing lyricism with Paul Blay’s trio recordings. Gentle brushing accompaniment brings Billy Higgins to my memories. Moorland and Hill Lane starts with dark piano chord which posses this kind of mathematical structure which belongs to Ronin’s hallmark , bur again lyrical approach puts it closer to Mal Waldron either. Piano sounds like being prepared due to constant presence of Arco Bass note appearing like an organ burdon.

It’s beautiful piece of music and honestly my favourite out of this session. Closest to it remains Augmented , again with voluptuous and dismal harmony. Melancholic Hidden Beauty, again release the tension and preparing listeners for closing Equilibrium. It is another quality worth to mention, the ability to put pieces into the order which helps keep momentum and dramaturgy flowing. Opening chords progression brings to mind some Phillip Glass’ structures ,but execution is lyrical and ecstatic in the Jarret’s way. What a wonderful recording ! So good I have no stars to give other way I would be stacked. It’s a long time affair guaranteed for every piano trio lover 😉

ECM PR: Benedikt Jahnel Trio: Equilibrium (ECM 2251)

This is one of those recordings I love. Put the name to the browser and you will find nothing. Today it does not happen too often. Virgin territory. “Tabula Rasa”. Just waiting to be written.

Argentinian Horacio David Straijer  on marimba and percussion appears across 9 tracks solo or coupled with guitarist Sergio Romano. Music is dedicated to Ariel Ramirez, Jaco Pastorius and Huancara.

The first one is a great name in Argentina ,being a father of folk revival responsible for a massive cultural movement and rediscovery of roots in Latin-American communities, which are trying to find a lost connection with their pre Colombian assessors. Famous Misa Criolla remains the most recognisable piece of his music for usual European listener. Jaco needs no further introduction. Huancara is not a person but an instrument. A little roll drum origins from Bolivia ,by the way. But dedication applies to the group of Argentinian musicians who started in 1982 a kind of workshop for music research to find the way for creating harmonies capable to make a dialogue between temporary folk inspired compositions and traditional tunes. Still alive ,but anonymous ancestry.

Horacio was / is a part of this group ,hence his tribute is paid here. It’s important so I used my freshly gained Spanish lingual skills to translate this few facts and serve hot as they explain a lot from what’s going on this recording.

Consequently it is a part of George Haslam’s Argentinian Adventure series which started long list of highly inspiring collaborations and thanks to his own SLAM label had been recorded and became available to us. Opening tune is Ramirez’s origin and it is really amazing how it goes. It blends baroque fugue created on marimba with percussion counterpoint and repetitive choral motive twinned with simple guitar theme, tonally reminding Pat Metheny. It is hard to say what had been picked up from classical education and what is a part of this came back as a ricochet after historical blend of pre Conquest native folk and missionary education.

All coming after are Straijer’s own compositions except one more, written by E.Zaldivar. This one and following tune are pure Andean harmony, purely coming out of native music. Our ability to recognise origins are highly restricted on this occasion, but some inspirations are obvious for well hackneyed to world music listener. All this pieces are composed around merge of percussion instruments looped into the mix, so except closing solo marimba piece ,they sound as like had being performed by quartet or quintet rather than duo.

Bombo Leguero, wooden military drum with goat leather membrane, makes astonishing job here when used for a soul salvation rather ,than for warming troops for taking them out. It’s specific tone dark tone wrapping marimba sound nicely and adds into the rhythm as it is expected to. This is where Jaco comes to mind as the way of setting rhythm into melody and giving it drive is exactly what he brought to the world. Tunes like Vuelta del Rocha or Astor seem to be a perfect examples of this practice. Following Formosa or Arcos are presumably just a sketches and all around just builds up on the same time, titles suppose to confirm it too. Music on this disc is so chilling out and relaxing that I am usually amazed when music finally stops as being woollen in to this lovely sonic cocoon I hardly notice the time passing by.

All tracks recorded in Estudio de Sergio Romano, Buenos Aires, Argentina, 2003

Glass’s “Metamorphosis” remains one of my favourite compositions.

Simple piece of Music based on repetitive motives looped into the five suites suppose to be straight forward to interpreters. As the title seems to suggest the piece is all about changes. Whatever listener would like to visualise himself. The Universe, nature seasons, life cycles ?Like a short film inside the brain one just see dying in the car accident – sort of feeling.

Unlike some really complicated and partially open modern compositions this seems to be pretty obvious. However ,as much as I heard ,no performance was exactly the same. The latest is just love is the one reviewed here from an Italian pianist. My previous reference was from Serbian Branka Paric. Both recorded and issued the same year. Both for very first time performed on the romantic side ,like it never happened before to this music. It would be great to know if Alessandra had ever heard Branka’s version before ? They share a lot if it comes to influence a repertoire and recording selections.

What is probably most touching in her version ,except already mentioned romanticism and so human navigation through this music, is the tempo. I like writing about Glass’s music like about the movies – he was involved in many scores written for the cinema industry. Grammy nominated for at least three. Some of them became already classics today – like famous “Koyaanisqatsi”.

Listening to “Metamorphosis” in this manner pushes you into specific way of thinking about building narration and dynamism of sequences to describe scene or motif. If you thing about original “Cape Fear“ movie for example, as I need something here what lived to see the remake done, and the latest version of the same story? What hits visibly is an action speed. Things tends to speed up during the gap time between both ,and same applies to this music ,or other aspects of life. Twenty years old productions seems to be very old fashioned, too slow, lagging behind today’s generation perception. And as such are exposed to the risk of being forgotten.

Funny thing the memory is. How do you remember your childhood ? Pianist goes through ‘I’ track very quick ,like no one else before. It suits me very well regarding the question.

In a similar fashion, ‘II’ begins where ‘I’ departed. Opening klang appears now as much more colourful repetition – more details and abilities to explore the world ? More mature memories?

‘III’ takes it from there ,swings it ,dances with it – makes it a melody. Brings nostalgia, memories of love ,but also some notes suggesting early disappointment ,regarding to the key I have chosen to describe it.

In ‘IV’ sounds became heavier. Weight is definitely bigger. Attack on the keys and multiplied leitmotif suggesting various feelings , different approach to the same old truths.

Naturally darker key of the closing piece is referring to an elderly age clearly.

Memories are sneaking between the notes here. Repetitive has different shade every time.

Another point of view ? Or maybe another look at something beloved ? Live is never going to be the same any more. The Cadences had changed. A Melody dances ones quick and vigorous, another time again slows down ,until final chord – with short delayed wave like a memory of the single human being.

Tremendous recording of the one of the best “Glass-ian” scores ever. With marvellous piano sound.

This record had been given to me by one of my musician friends and immediately caught my attention . This is the latest output coming from 74 years old Dutch saxophonist and composer. Recording seems to be done from pieces recorded in different places. Non only different musicians are listed ,but also when listening to this on proper equipment, one can hear different acoustic of the places.

At least 3 sets had been accommodated on this CD. All pieces are recorded live in clubs, and well, regarding to circumstances it had to be said that it is a really good job done behind the consoles. First track brings us straight on into pure funk. Propulsive rhythm of the bass with guitar response make fantastic carpet for leader’s melodic walks. Especially duos with the trumpet are ear catching. Reminding standards set up years ago by Miles and Train.

Gijs’s blow and tonal control is simply mind-blowing. It momentary brings to your head tradition of playing coming from such a masters like Dexter Gordon or Joe Henderson. But it has some elements of virtuosity reminding Branford Marsalis or James Carter as well. Much younger and dynamic players ,what truly amazes and surprises on the same time.

Coming after Christiane is one of my favourites here and belongs to the same set. Oriental rhythm married with Hawaiian like guitar riff . On that background Gijs builds up a theme which is so lyric on the one hand and on the other simply blowing with energy. All perfectly controlled all the time.

Third track called Instant Composing Music NR1 8 .42 seems to refer to Dutch improvising tradition with its more experimental lines.

Next two tunes ,came from another set up and are definitely different from an opening lot, ,more main stream in comparison. On a Misty Night is a lovely piece of blues. It brings to my mind Marsalis’ “Trio Jeepy”. There is a room for everyone for an elegant solo. All fits between repetitive rhythmic lines. Following, called Joe, starts with pure Henderson like solo ,with this hallmark thrill, moves on the end to ecstatic Jarret like, ardent piano invocations ,with leader’s howling overblown notes in response to fingering intensity in the final culmination.

The last tracks are taking us back to the ICP roots. These are Duos with piano only. First one starts like a storm. Leader’s sax sounds like he is swapping from baritone to alto , but … he is not. This is a Pure Mastery and I would like to hunt for more sound like that for God sake. Following lament is almost a Solo ,as a piano counterpoint is so restrained ,that is hardly noticeable. However its ornamental character frames this fragile piece beautifully. Both are improvised and set up on roughly sketched lines for sure. But what an improvisations they are. If Hell would look like this I would swap Heaven for it without thinking twice ; )

This recording is special . Twenty person band led by his young music commander Daniel Glatzel takes us on the cosmic crusade. All related to this band has a taste of the great adventure. Starting with cosmic graphic art in the booklet through titles of the compositions to the final climax . All written by a 25 year old leader. Music here is played with a manical devotion and with the greatest fun in the same time. You can feel this delight with every single note. It is very impressive as we are dealing here with a serious musical erudition mixed mischievously with very specific sense of humour.

Its for sure that all these youngsters did their homework well. Opening Gamma Pluto Delta is a very psycho-motoric tune running on the locomotive like beat and keeping us in readiness for whatever is going to happen. Listener is finding himself immediately mobilised and ready to follow those chaps.

Following Asteroids with crazy mixed tempos, changing endlessly, employs in arrangement everything from the Big Bands history . Starting from the ballroom like dancing tunes, then with strings added on the top to smooth the path when needed ,to the individual brass solos ,both written and improvised. Slowing down on the end leaving us to hang on in space awaiting the next step.

Lava Lovers after that swings gently decorated by a smooth ride of cellos on the top of the calypso beat. Once we believe we started to discover something new ,the band proves us wrong and immediately turns the opposite direction. Bringing back memories of almost forgotten lapidary tunes decorating class B movies alike. Eventually television advertisement or fragments of serious 20 century music, but broken into little pieces and reconstructed back in the way that makes them hardly recognisable and impossible to name. The culmination of such a practise is  Radioactive People , middle tune taking us to the Galactic Circus of Madness.

Following Scene 3 is slowing down just in time as there is not as many listeners capable to handle such an intensity. Band swing us gently now, on the harp riff taken from Debussy and bridged with lovely brass tapestry to the well anchored vibraphone rhythmic bypass. The Space Trip goes on! Until  Cotton Candy Nebula group improvisation. This piece shows a collective maturity of the band. They keep their ranks tight. Minimal concept of the piece brings memories of Glass and Sun Ra. In response ,following  Milky Way Fables with its Cage like structure and sparkling brass glissandos flying over the loops is pumping up with the speed making our ears ringing.

But again – there is a brake in the middle and we are landing gently on the parachute build by sonic circles of the moving pipes. Closing Postludium announces an arrival and the end of the trip. A landing does not disappoint at all. I love this new place we came too. But all memories of the journey are still alive in my head .

ANDROMEDA website

Tribute to Nina Simone is not the latest recording supplied by the British singer ,but at least is the newest one to me .With Barb it is always hard to guess what will be a leading direction for her subject to explore. That’s why I keep coming back to her and awaiting her new recordings. Nina’s tribute is an another example of her amazing talent.

Simone was very special artist herself. With her deep involvement in fighting for racial rights and with her understanding of social problems she created songs which became flags. Such a things are like catholic dogmas. Many believe it could be said different way ,but not too many dare to do so. Simone’s power had always been laying in her great lyrics and deep strong and dark voice. This Voice always did underline the proud of the race she came from. Her piano self accompanying, especially in later RCA period was a class for its own and a hallmark of her unique style.

Many factors to look after. They have to be recognised and threaded carefully to avoid degradation. Here ,as always ,Jungr did not disappoint. Being perfectly aware of her own vocal abilities she tracked Nina’s songs from late period ,more melodic and lighter – more suitable for her own voice. But she did more than that. She studied carefully lyrics and made for them some new arrangements ,which turned them into completely new beings. Even if we are all aware that they are not. The sonorous aspects of the songs had been kept and Nina’s gentle way of phrasing survived in every single piece of the music that Barb sung.

Pieces like  Just like a Women  or Angel of the morning  with new rhythm structure and chorales shown Nina’s sense of humour in completely new light and easily did prove their timelessness. Some accents hidden in originals ,appeared now more clear and changed a balance of the songs ,giving them brand new life.

The  Lilac wine  or “Don’t let me be misunderstood  are songs with a massive ballast of a honesty. They are holding Nina’s own fears and weaknesses like a personal statement. Those had been interpreted by Barb with a deep sensitivity and emotional understanding. Her own preface to this program in the linear notes from the booklet are clearly marking the fact that she grown with those songs and Nina was her heroine during all her life.

I can only guess that ,being obviously the male ,that some notes in Nina’s poetry are simply touching Ladies souls in completely different way. I am listening to her all my life, bit shorter than Barb’s own ,and she remains a deep mystery to me. So when Barb sings  To love somebody  I feel immediately that I understand even less than I believed I do. Barbs tribute to Nina is not only the great recording. It’s a fuel for keeping Nina’s flame alive. Closing Feeling Good  proofs again that the secret of life is endless.

One have to be said yet to pay the justice that quality of this recording is lifelike .Simply breathtaking.

LINN BKD 309 INFO

Youn Sun Nah is a 42 year old Korean singer ,but actually it is easy to be fooled by her much younger appearance. Same Girl is the 7th LP in her discography ,and a second one recorded for a prestigious German ACT Music Label and following debut „Voyage”.

After listening to the first one I had a massive headache as this music was simply incredible. Have to say that the current one is nothing but a killer too. There is a mix of few classics, not particularly jazzy ones, a couple of her own tunes and one from Ulf Wakenius, Swedish guitarist and her musical partner and label colleague.

Opening My favourite Things by Rogers/Hammerstein is ordinary overwhelming. Well known tune in her interpretation becomes a philosophical reflection. Words ,so simple have there a mark of lifetime wisdom. Hard to forget feeling and have to be heard to be believed.

Next, Frank’s My Name is Carnival is closer to original interpretation ,but framed with Youn’s amazing vocal abilities becomes again ,completely new quality. The same definition applies to Metalica’s Enter Sandman which is presented in a similar fashion just with a simple guitar accompaniment by Wakenius ,but whole palette of vocalise techniques employed there, from groaning and snarling through wailing incantation reaching areas of high pitch scream makes her interpretation almost impossible to imagine. The fact that she has no struggle to fill the gap left by heavy metal band with just her own voice speaks for itself. I can not feel there anything lacked myself.

Guitarist’s Breakfast In Baghdad is a wonderful and hi-drive piece ,with vital beat set up on traditional oriental rhythm. Duo seems to understand each other perfectly – and Nah’s singing is nothing but brilliant. Artist’s own compositions are sharing this modern dynamic vitality represented by him and all together constitute the core of this recording.

Traditional Korean Kangwondo Arirang together with Song of Regret and closing La Chanson d’Helene, sung as a French origin, are perfectly balanced counterpoint for the most dynamic parts on this recording and set up the mood permanently.

Especially trumpet’s inter-medium after words and Ulf’s guitar walking reminding late M. Davis collaborations with J. Scofield. Paradoxically Terry Cox’s Moondog, a tribute to Louis Hardin – famous modern Viking from New York streets, became the most jazzy piece of music on this tremendous recording. Obviously only from the arrangement point of view. As original is not at all ,it is quite a surprise. But to be completely honest with you not more than the others.

This record is a whole festival of surprises and what a surprises they are. I don’t like giving stars , but even if I liked it would be hard to decide here. So individual it is that it deserves highest intimacy . Can not recommend it enough.

Plus extraordinary recording quality, a hallmark of ACT Music pays the justice fully to the unique artistic quality.

Erica Angell and Josef Kallerdahl is a young Swedish Duo I heard on the stage and I liked this so much I got their latest recording Floods straight after the set ended. Well done as other way it would be hard to source. Not having any previous experience with artists I had no expectations either.

In fact the music they present is an intelligent collage of all – jazz ,rock ,folk – more you know about music, the more inspiration you will find. On the other hand it is very personal due to the lyrics ,which are very honest and sometimes intimate. All music seems to be written by both artists without pointing out who wrote what, however some of the songs are so remarkably feminine, if you know what I mean, that it becomes obvious they must came from Erica.

An opening Blow Life in my Soul says about love and expectations in such a maternal way they could not come out of the male. Very simple poetry ,but truly touching. Musical formula reminds me alike Joni Mitchell and a little of Lori Anderson too. It’s due to songs not being just sung ,but sometimes whispered, sometimes spoken straight ,depends on the lyrics of course.

Erica with her gentle, slightly matte voice seems to be responsible for vocal duty ,but sometimes Josef joins her and they make chorales in perfect unison. Josef is the groove men in the duo. He holds tempos and builds a basement for all the pieces. On both Double bass and Bass Guitar. For this project the Duo also employed the Brass Trio : flugelhorn, french horn and tuba. It builds up very interesting arrangements. Usually Erica self accompanies herself with little organ dialoguing with the bass or brass. But here special parts had been written for the brass section or soloists to counterpoint selected lines of the piece or the singer.

Piece called Roller Coaster with its gentle rhythm marked by tambourine and vocal stepping out of the shiny brass base reminds some Irish folk songs and … the Velvet Underground.

Following Silence starts with some brass riff ,borrowed from Nyman’s “Draughtsman’s Contract”, and originally sourced from Purcell’s music. Set up on Erica’s organ burdon, with variety of the vocal patterns to serve the subject. It shows artists’ unconventional erudition and complexity.

Interactions between brass and strings (Erica’s zither and synthesiser) are among most beautiful moments on the recording. Especially Emil Strandberg’s solo (flugelhorn).

Next ,tittle song Floods is wonderfully stretched between Medieval like brasses call and responses and synthesised background. Vocal is here very emotional and slow. Overall mood reminds that what we remember as 4AD hallmark sound briefly, but it is just taken from there to the next stage, re used and not abused. With completely unexpected coming out after the break in the middle of the piece.

Following four pieces on the recording are bringing even more unexpected solutions ,mostly being a result of combining nicely blended achievements of the classical music, including latest minimal,with new romanticism, this what we remember from decades of rock and folk evolution and so many vocal inspirations that’s it is almost impossible to name them all. In one word what they presented here is very eclectic mix on one hand and very new on another. But definitely marked by both artists personalities .