Belle Epoque, project involving two of the most promising young French musicians is a part of the Duo Art series which Act Music started to launch just this year. It is a 7th volume already if I got it right, which shows a great effort and adorable consequence, especially worth raving as the music published under this brand is really outstanding.

Emile Parisien represents an exclusive club of soprano soloist which just a few joined in. From Bechet ,through Garbarek to Steve Lacy and Dave Liebman. One cannot forget the Trane who bought it back to life.

Vincent Peirani is equally congenial counterpart as it comes to accordion. He is considered to be the one who completely revolutionised the way of playing it and expanded the borders for expression possibilities available. Something like that, in France when accordion remains one of the few national instruments, being always present in nation’s culture is an exquisite achievement alone. Think Edith Piaf, Parisian Caffe like music always present on the streets, then Galliano , Matinier, Berthoumieux and finally Peirani. That is a big rat run, just be aware of that. I am listening to a lot of accordion /bandoneon recordings from all over the world and I can tell you that straight on: He is the One off.

Recording contains 5 jazz standards and 4 originals, two from each. Starting from Bechet’s Egyptian Fantasy shows already that those two can see the world in their own way. With full respect for the classic, they managed to prevent the beauty of the tune and develop completely new aesthetic to this. Amount of nostalgia together with subversive sense of humour this dialogue is handled appears like a brand new piece with just a trace of reminiscences that few elders might still remember. The beauty of the tone is just overwhelming and makes you want to dance.

Lodge’s Temptation Rag can be actually called forgotten given the fact how popular it used to be in its best days. From vaudeville, old fashioned piece they turned it into a beauty and vivid melody that one can swear heard it before around many times. But it is just an illusion coming from this amazing ability to drag out the core of the song and give it a new spin.

Same can be said about another Bechet’s classic Song of Medina. Again they prevented beauty tissue of Arabian scales which makes this piece so floating and gave it make over which matches dynamic of today’s modern life on French streets. Made right now by completely different society cross section. It again proofs an amazing talent for observing a life as it goes and adopting new movements into existing structures and enrich an existing language, which both of them shares.

Same can be said about Duke’s Dancer’s in Love which kept its natural charm and listening to it one can easily remind himself the original tune. But the best to me is when it comes to originals.

Speaking his own voice shows really what your spirit is like. Parisiens’ Hysm with a gentle opening makes you think if that is still accordion or some magic music box played by your own guide angel somewhere in the shadow of the foggy morning. With an angelic sound of his soprano this piece sounds almost like a liturgy in a church, with accordion fingering sounding like a baroque fugue.

Periani’s Schubertauster on contrary is the music with complete different sense of space and the sonic structures building up high by his partners voice on the solid foundation he delivered.

This recording is nothing less than the box of chocolates with an exquisite taste.

When I first heard Lisbeth Quartet I was both surprised and enchanted. The face of the band turned to be a young lady, Charlotte Greve. It was a year after this material had been recorded; live on the stage of Berlin’s A Trane club.

She is a proper heroine. She has the power, the talent and passion to spell the inner sense into her compositions. Those are by the way skills well matured; something one wouldn’t expect from someone so young as she is (just turned 26 now).

What touches you immediately is her incredible way of feeling melody. You listening to the tunes which sound to your ears so much like a human voice, more like songs which posses’ emotions stored in lyrics, not just in an articulation or timbre. Very few reed players have such a gift. Think about Charles Lloyd for example, that would be the right description. Or Heinz Sauer, if you would like to pick some from the same sonic Universe as she grown in.This recording is four years old, so think where she will be now expanding her own horizons so quick.

From the first phrase of the opening The Tree composition listener is getting that clearly. She starts with a lament which is perfectly balanced and dynamically controlled. Voice is clear and holds emotions firmly. Phrase grown and gets low, but never comes overdone. Is perfectly focused all the time. This is wonderfully written composition with enough space given for leaders’ sax to keep telling the story and room left for the band mates to support this narration. Particularly interactions between voice and percussion build narration of the piece here. The discrete and propulsive in the same time presence of the piano fills the harmonic tissue in the way that one would expect the drums rhythmic accents would make. That is truly developed at the master class level and is in fact more clever and mature than it first sounds.

In the following Red things are more equally shared in the combo. Piano gets more solo space and section operates in more traditional manner. Leader’s sax plays melody which seems to have more in common with traditional folk tunes than a escalation of rhythmic figures, but boy – these chaps can play. Keeps are floating here and keep changing on the go. Functions move. And melody which was already simple had been completely de-fragmented, used to deliver completely new steps to the old well known dance. With interludes which made a complete makeover to it. I love transition of this piece a lot and can really enjoy listening to it all day long.

Next the title suite comes in two pieces. Contemporary character of this set up mood differently again. We are taken back into the land of reflection first experienced with the first blow on the record. Listening to Charlotte’s gentle, smoothly told story with her breath and fingering work constantly present in the phrase is nothing but the honey for the ears. It is hard to believe how someone so young can posses enough wisdom to tell stories like that. I could keep go on and on like that for long. At least another four composition, but it is pointless. What one need to do is to buy this record and fall in love.

CONSTANT TRAVELLERS TRAUMTON PR

BUY IT here!

When I saw this album the 1st thing I thought was: Gosh – long time since I seen a solo recording from Dave, and I went to the shelf to check it. It turned into 20 years exactly as I found! Lots of Memories to celebrate as it was my Dave’s 1st recording I bought (Air Sculpture). My first ever Traumton CD , yes guys 😉 and also the title which took me straight on shortly after into the wonder world of Keiko Abe.  The Temple of endless imagination in which I steel keep praying today.

Like the first one, same this latest immediately found its place in my heart forever. Musicians like Dave who live busy lives contributing on hundreds of the Greatest musician names’ around recordings (Ch.Baker ,W.Shorter, J.Scofield to just name the few) hardly have time to slow down ,relax and listen to the sounds inside themselves. And this 20 year gap is the best proof of that.

Listening to only those two albums makes one aware immediately how great contribution it is.

Possibly the closest to that are Dave’s trio projects with French Accordionist Jean Louis Matinier and Argentine bandoneon Master Dino Saluzzi recorded for an Intuition label. Those, together with both solo Traumton recordings are absolutely a Holy Bible for those who follow The Open Space Sound Sanctuary.

Intimacy of this recording sets the listener back immediately. It is a message that is not possible to ignore. You can’t just leave it playing back in the background. You have to listen to it, you have to let it explore your mind. All you have there to react every time Dave’s mallets hit his instruments is straight on alerted. Doesn’t matter if that is a tune you know, or you do not.

Any way it doesn’t sound like you ever remembered it, even with such well recognisable titles like Monk’s Round Midnight or Legrand’s The Windmills of Your Mind.

An improvisation is an open process, vibrant and immediate. It affects you with an instant effect. There is no limitation involved in it. It all spans between the musician’s imagination and technical capabilities. Listeners sensitivity and ability to catch the wave. Dave is the Jack of All. He builds mysterious temples of sound with an individual approach for every single piece of music here. Balance between the structures of the sounds is made on aware choices which one to hit to get just that exact note with its texture, shape and re-verb which makes her so unique.

Those with an open mind will find there something else every time they get back to this music. I am lucky to have it since 2 months now and I am listening to it daily still being delighted as like I just heard it for the first time.Listen to this when it rains and when the Sun is on. Listen after sex and even during, too;) You will see what I mean.

On the top of this recording two things as well are worth special attention.

First is the person who recorded it: Wolfgang Loos, the same sound engineer who created an outstanding Air Sculpture sound. Second is the fact that he used for this recording his Telefunken vacuum tube based microphones. Those who know the sound of EF 86 pentode do not need to be told twice. Those who do not, let me tell you: It is only live music experience that can be better than the image of these mikes.

Listen to it and you will hear the quality you never experienced before. Both artistic and technical. I do not believe that it can be any better.

WEAVING THROUGH MOTION TRAUMTON PR

I decided to put these two albums together as they are sharing a lot and it does make sense to me to write about together. I know Magdalena and all the recordings with her regular trio, but those two duo recordings, with an occasional help of the few quest musicians friends. I never heard Shane’s before but it only makes things more interesting.

Here we got two CDs containing seventy percent of the same material on both, however 1st is purely instrumental approach, on second Magdalena is also singing . Material sports some originals from both artists as well as some traditional tunes ,which had been re-worked and re- arranged, like Bossa Romanza or Scarborough Fair.

Duet of the guitarist and harpist /vocalist seems to be a good place to start. Formula of using two string instruments in dialogue determines arrangements as well as forces both musicians to keeping specific discipline. Duo recordings always had been most demanding. There is no place to hide – once you are there- you are there. Hence I found artist choices to be very interesting.

Both instruments are harmonically very close that it could turn duet into monologue if special attention wouldn’t be cared. And that’s probably why they decided to rely rather on instrument’s specific articulation than arrangements focused on melodic choruses.

This is a land of gentleness and as a harp naturally belongs there it had been given leading voice on most of the tracks, with respectful and sensitive guitar accompaniment. That keeps the counterpointing harp’s voice in order and never goes louder that is needed to underline the phrase.

That’s perfect choice of music if you like to calm down, relax and listen to your own thoughts.

Turning into vocal disc changes all the things. Ballads like Calling Out or Won’t You Stay still remains charming and cuddling you gently but Magdalena’s narrative vocalise, half sung half whispered puts completely different spell over the listener. Charm remains, but accents had changed. Focus of the tune is on lyrics now. Guitar takes over delivering decent accompaniment. Harp is used now more for adding some fragile passages to decorate the phrase. Where it was leading before, now the voice took over.

Following Beauty also present on the duo disc got an interesting make over with vocalist’s voice dubbed into the choir with herself. Just for this Moment, the moody blues with a quest sax and violin appearance is more like vocalist I know, telling story like someone who knows already few things about love.

But still lack of regular piano trio I am usually listening to her with changes to the headline. Shane’s approach makes it more Latin and Bossa , less Cabaret like. Also Magda’s Harp loses here its folk-ish spirit that is usually present when she is playing her alone. That makes an interesting comparison with the music of the artist I know well and showing versatility and new face but thanks to the muses all the good things are not being lost or forgotten.

That makes both CDs a good introductory into the artist’s universe and I am pretty convinced that those who will taste it will be looking for more.

Max’s project is something really striking and cross boarding. Young drummer’s and composer sonic personality goes far beyond definition of jazz. More that it is super intelligent. It is flirting with conventions, makes you laugh, happy and not feeling even trace of guilty due to your lack of respect.

There are some paths left for the listener who is careful enough to follow and not get lost. You can sense inspirations coming from so many directions that pointing them all would just consume pages. On the other hand it is pointless itself as the greatest joy of this music lays exactly in the pleasure of peeling layer after layer. Here the whole world is upside down. Slapstick and vaudeville performance paths can only take you off the road. You need to trust your common sense to survive.

Given the titles and building description would mislead even more – those are false clues. Nothing is exactly here as it looks to be.

The Choir is not what you would imagine it like. These are voices which are completely de – humanised and actually reduced to the purely instrumental function. As such they contribute as instruments would do – making sounds, but not sense. This is hidden in a devilish composer intention.

How smart it is that only true improvisers would understand. Music is very micro tonal in fact. It is fast as well and the rhythm builds the phrase in very unusual way. Additionally drummer’s efforts are mirrored by similar guitarist’s approach (Tobias Hofmann). Those two are most responsible for fooling you, especially guitarist’s Hawaiian tone making you thinking that things are just about changing direction into more recognisable territories , but they are not.

Rhythm section’s cooperation here is a pure tour de force as one can already imagine himself at that point of the story. It spans between film noir tune like and grotesque cannonades breaking all your expectations. Voices drive you into little paranoid rhythmic figures in one moment, to brake again and sing you a capella lullaby for the piece of your mind. Simply brilliant. The way it keeps you hungry and looking for more is nothing but ingenious.

Paradoxically, or maybe not Johanes Schleiermacher’s sax appears to sound more human than all the real voices tend to. His sense of humour keeps balance on the edge in similar way as Daniel Erdmann’s of Das Kapital does. I am finding some similarities between those two bands simply due to ways like guitar and drums interact, but they both speaking their own voice. And definitely representing completely various approach.

Honestly I do not know anyone else I could compare Andrzejewski with. He is aware of Marylin Mazur in the same way as is Meredith Monk. He knows Schonberg, Berg and Webern in almost the same intuitive way and using them all as the trampoline for his very own ideas. But most of all he is an sensitive observer who comments on an absurd surrounding us daily with illusory sublime that disarms your own gravity and makes you levitate. That is more than just a project – it is a new language.

HUTTE und CHOR TRAUMTON PR

This is the 5th album that Swedish guitarist made for Munich ACT label. But that time for the first time solo. Long time collaborator of the Jazz Giants, like Oscar Peterson or Herbie Hancock ,as well like his label mates like Lars Danielsson or Korean singer Youn Sun Nah. Their Duo recordings brought them the massive amount of followers, including writing these words.

The title brings one song to memory straight away. This is a unusual recording in many meanings. As artist says it is his special tribute to all these magic moments he was blessed to experience having a chance to play together with all the great musicians during his career. But choice of tracks shows that it goes deeper and also covers artist’s adoration for particular compositions related to personal life experience , that joy and sorrow life brings.

Opening Ballad for E. written by Magnus Öström for his Dear friend and band-mate Esbjorn Svensson is a perfect example here. This loss took this drummer out of music for two years after he recovered enough to get back on stage. It possesses enormous deposit of emotions which Ulf shares himself and his interpretation shows that.

The interesting thing is that a recording like this made on a few different instruments by virtuoso musician tells us a lot about techniques itself. Things more difficult to trace or just not appearing in a more thick group arrangements of the same music here become immediately audible.

The way he plays pieces like Momento Magico echoes Great, Great Egberto Gismonti to whom it is indubitable tribute. In Duo with Youn, to whom he dedicated this tune, this is her vocalisation that runs the piece. Here he has to be an Alpha and Omega , and he is.

Similarly things are with Danielsson’s Libretto. This is a peaceful and gentle composition based purely on the harmony and Lars’ articulation. Transferring this from Cello and Bass to the Guitar in the way which prevents original charm and quality is a very difficult task which again, guitarist fulfils brilliantly.

Pieces like Hindustan Blues, Mali On My Mind, The Dragon are all showing Ulf’s incredible openness and versatility. All inspired by folk from different parts of the world which are not difficult to guess. Some are surprising synthesis with western or American music. Some amaze me with his endless creativity. All of them are dedicated to the people who mean a lot to Ulf.

Esperanto for example pays tribute to Siggi Loch , labels’ boss , whose open mind and vast music interests is illustrated by piece of music like a cocktail of many influences , funky underlined by the tittle’s meaning. Preludio is a sweet miniature written for K.Jarrett. Sattie’s Gnossienne in Ulf’s interpretation appeared with a subtle Bossa rhythm giving the piece a brand Nova life.

Charles Trenet’s La Mer is one of this songs which brings a memory of France to your head , doesn’t matter one was there or just have seen it on the TV. It is such a incredibly beautiful melody that charm spells over us since 40-ties from the same strength.

All together this is a absolutely outstanding recording to me which brings new taste to music we all know well and Ulf’s own scores which are going to take you for most the exiting music adventure. Especially if you won’t forget the fact that you are listening here to a one man band. But.. what’’ the Man is He! Marvellous.

This is the 2nd production of the JATBP , the project that Siggi Loch of Act Music started two  years back and successfully continues. Since that four editions took place and three of them had been already issued.

Originally takes had been made for the broadcasting purpose, but massive success of a fully sold out events, fan’s demands and finally what is most important : Artists’ own satisfaction from the project quality turned it into an existing and growing on series of live recordings.

As previous related to Piano Works or already running Live at the Schloss Elmau , this one became a equally great success. Very clever words puzzle alluding to Haruki Murakami’s best-seller book does exactly the same favour as referring to the original Norman Grantz’s JATP slogan which every jazz lover around the globe recognises as good as he does a Mercedes Benz Logo 😉 for example.

It is addressing artists’ origin spot on giving a flavour of music we can expect. Here we got an In the Country trio, vocalist Solveig Slettahjell, pianist Bugge Wesseltoft and guitarist Knut Reiersrud. Solveig and Bugge are long time collaborators and they know each other very well. It is easy to hear.

In the Country however comes here at its own. All starts gently with an traditional song arrangement which at first spins gently, flowing over trio accompaniment. The spirit of folk song is constantly present, but it’s purity can only be heard in the choruses. Bugge’s piano turns all upside down giving the piece an immaculate drive. With all re-verbs from the keyboard it holds very contemporary character.

Following Can I Come Home Now left all directions in the trios hands. It is a wonderful composition very often reaching the same high emphasis we remember from EST. It just shows how Esbjorn’s music is still alive and mutating in other musicians’ imaginations. Here Knut joins with hts guitar supplying sound-scapes deeply rooted in a blues and bringing associations with Bill Frisell’s sound.

Have a Little Faith following keeps all in safe and joyful ballad territory, but sonic aura delivered by trio, especially sparkling cymbals re-verbs dialogue with a squeaking guitar wah wah effects sets it far from rock classic original. Solveig’s voice has already sublime tone in this song but is still far from anthem like culmination coming in closing cover of the famous Led Zeppelin’s song: Nobody’s Fault But Mine.

Piano solo Bugge plays in Chicken Feather is nothing but genial. With power forcing respect and the hypnotic imponderability it clearly steals the show at that very moment.Knut’s composition Jargo played after on guitar solo brings a nice and well balanced counterpoint for its heavy meaning. Coming after Sæterjentens Søndag is collective arrangement which is said to be based on Ole Bull’s classic piece of music, but it honestly sounds more like a marriage of the blues with a saraband.

It reminds me a famous solo played on dobro by Ry Cooder on Paris –Texas soundtrack. It’s only piano dialogue with a guitar that keeps it in a classical ream.

It is not an accident that the leading force of European Jazz today takes that much from the Scandinavian folk traditions. But these things happened in Germany for the very first time when ECM popularised Garbarek’s music in 70’s and what Siggi Loch is doing is just the next ACT of the same play.

A must have recording for every Jazz fan and live music recording enthusiast.

This is not a regular piano trio production with an Orchestra, but quite an unique concept using music which had been written a couple of years back and has been waiting for its chance to be recorded.

Album contains two suites: Move! and Simple Tales.

First had been originally written by Simcock for himself with CLS, but later on he reworked the piece with an intention of expanding rhythmic aspect of the music,. Having his frequent collaborator bassist Yuri Goloubev and drummer colleague Martin France in mind. Those three are the core of the concept.

The Move! is a very illustrative composition and it keeps listener’s imagination busy. It contains 5 parts but it runs straight through it with breaks between the chapters being only marked by piano solo interludes. That serves for setting up the mood and changing the energy flow by distinguishing differences in style between particular parts of music.

Opening Clunky is a straight forward harmonic progression structure sketched by cello chords making framework around which an orchestral tissue can be made. Gwilym’s piano fits the gaps doubling cello lines and adding pointing to the strength of a already solid structure. There is a lot of room left for improvisation between the movements. All well used with great respect to keep the right balance between the texture of the orchestral background, rhythm devoted section’s forefront and the narrative piano voice.

In Columns harmonically similar to the wall of sound one can imagine himself coming from the church organ. The certain sections of the orchestra are dialogueing here with soloist to develop sonic images with a strong vertical feeling. Amplified by the title itself.

Industrial turns into rich, rhythmically driven culmination of this outstanding piece. Dedicated to Alan – artist’s Dad it’s trying to paint his endless admiration to the phenomena of the industry. This climax of the suite is written with such a massive energy and overwhelming richness of repetitive patterns that one might believe that He was one of the fathers of the revolution himself.

Second suite is more convenient and contains material composed for the conventional piano trio, again reworked to meet to existing line up aided with two extra strings.

Overture here has a sparkly and dance character reminding with its vital colourant Chick Corea’s pianism with the way leader puts it. With the bass player like Yuri and his outstanding articulation following The Theme turns into wonderful and gentle ballad, where groove pizzicatos make the foundation with violin and cello arcos build a melody vale.

It keeps flirting with Latin rhythm the same as is following Mr. Bricolage . That one however is much more contemporary and far from a Dance, with strings being a bit on the Klezmer side a bit close to folk tunes and with the rhythmic section being a class of its own. To me only this one composition is worth buying the whole album.

Long Road coming after is a nostalgic waltz in which slowed down melody is reaching its culmination in a beautiful and intense violin phrases and string’s dialogues.

Finally closing Dance is dedicated to Ann – Simcock’s mother. It takes us back into the illustrative theme, with highly vivid and constantly changing lively motifs deeply influenced by folk lines.

One couldn’t describe his parents better.

Lifelover is a début recording of a Hungarian Duo for the Berlin based Traumton label, but they are both far from being débutantes. Veronica has other 4 albums on her account on which all Bálint was present, so they know each other at least seven years. That would explain to me this incredible synergy present all the time during this session. Balint has an impressive collection of 14 different projects he took a part of. Worth mentioning given the fact they are not well recognised artists yet.

But they truly deserve to be. Listening to them makes you think about a few other duos being around with a similar approach ,like Ulf Wakenius – Youn Sun Nah or Joy Williams and John Paul White of The Civil Wars. Similar doesn’t mean the same. But this comparison is giving a good imagination about Veronica’s vocal capabilities and the sonic artillery she is keeping under her command.

It’s a lot to listen and even more to write about. She understands expression in vast and total way. Her voice has enormous capacity. And also incredible rich collection of shades and tonal palettes which she knows very well how to use . That’s where she remains me Youn.

Everything she spots and classifies to be useful is used immediately to make an effort best possible. She sings , talks and mono-declaims. She squeaks, sighs and breaths. The fact she scats perfectly seems to be just obvious on this wide picture.

The way she employees emotions into her stories using her girlish timbre of the voice with a bit of a harsh vibrato is just enough to fall in love.On contrary the minor full-blooded tone of feminine power she is capable to drag out to dominate you and put a spell all over your head. If you add her cat walk appearance to the image you can see all the weapon.

Getting back to Balint, as I said it before, the synergy between them is almost organic. He blends with her like they were a single organism every  moment. It says itself a lot about his skills, sensitivity and tremendous musicality already. His ability to disappear completely and at the same time being  all the time present is a gift which only best accompanists posses. As he really IS one of them. Like Mal Waldron , Joe Pass, Lester Young or Louis Armstrong. Purely it is not about the instrument .

The gift to make music sounding in such an unforced and natural way is really unique and special. And power to stay behind and curbing an own ego for the best showing of his great maturity. Mind that I haven’t put a single word here about the songs. Neither the titles. That is for the reason. You have to go there and listen to them. There is no way out. No rat-runs. This is the Great Music at its BEST and definitely one of the greatest recordings I came across this year. The God’s sparkle. Check it out – it’s the Lifelover.

 LIFELOVER TRAUMTON PR

You can buy this music here.

This is my first meeting with London based Bass guitarist and composer Shez Raja and his collective. A quick check confirmed that he has another recording on his account done some four years back. Other guys in the crew however sound much more familiar: Sons of Kemet reedsman Shabaka Hutchings, saxists Soweto Kinch and Gilad Atzmon are well known brass players to whom I am listening a lot and also reviewed their music here ,so that will be a good point to start.

Shez’s music is very vivid and rich. Driven by Funky bass walking and energetic heavy rock-ish drums sound-scape, like in an opener Adrenalize, is a perfect background for those fearless individuals. They are personally far from pure jazz idiom and very often expressing themselves in many multi- kulti projects rooted deeply in folk music from all over the world. So we have it all here having such a line up put together. Additionally the fact this is a live recording makes it even more vigorous and “viagratic”! All those musicians are truly “stage creatures” and they just love to jam , challenge and respond to the music as it changes.

Karmic Flow with its oriental scale marriage to Rap vocals supplied by Kinch and vocalist Monica Lidke are both refreshing and very propulsive and an audience response clearly shows an enjoyment.

The next two pieces FNUK and Quiverwish featuring Gilad Atzmon at the front hence an energy flows a bit from already existing influences more into the Balkan -Klezmer territories.This section slows down a bit here when the drive realise on horns in pure Funky tradition, but here again Gilad’s Slovene nature blends with more tribal Hutching’s expression flawlessly.

Here leader’s bass lines are almost backing up Marcus Miller’s ones with their soft tone and roundness. Overall aesthetics of this concert gains a lot from Hancock’s Headhunters like propulsive energy which is present there all the time and J.Blood Ulmer’s bluesy influence which are definitely well known to Shez given the way he plays his bass.

Eastern Influence takes us even further Orient. Tune, like Karmic Flow sits on nice dark bit of psychedelic brasses which are flying around like mad witches. Rhythm section works here almost like pure tribute to Amin Ali – Grant Calvin Weston team from mentioned above Ulmer’s Black Rock recording. Exceptional solos of Pascal Roggen’s electric violin are feeling the space with rich and thick harmonic tissue.

Following Chakras on the Wall are still living in Ulmer’s sonic universe ,but Lidke’s vocalises are reminding a bit of New York String Quartet’s projects. That moves the balance into other direction. Funkadelic like keyboard playing from Alex Stanford makes a nice plot to land on for her and for the leader backing her lines with its bass.

Junk Culture is like getting back to Planet Hancock . Only modesty of rapping phrases and constant presence of the violin remind you that it have to be different approach, with a bit of “ techno bit” overlap and the beautiful rape on keyboards.

Closing Freedom, in the same dance like and melodic nature, is an fantastic outro . More Caribbean and wavy with wonderful brass unisons flying all over around. This album is pure fun and it is easy to hear and feel. That’s what makes it so fantastic. It is the one to which people will love to get back to. A sense of a great fan is so strong present there and so addictive.