Five years on from their debut album ‘No Fiction Now!’, Fiium Shaarrk, the trio of Rudi Fischerlehner(drums),Maurizio Ravalico (percussion) and Isambard Khroustaliov (electronics) return with their second album; “We Are Astonishingly Lifelike”. The album documents various stages in the recent life of this continent-scattered ensemble, and was written and recorded in different studios between Berlin, London and various other European cities that have hosted the band for festivals and concerts.

Giving the fact that the two drumming gents both completed architectural studies would put some new light on that far from usual sonic proposition. Reviewing recently Khroustaliov’s colaboration with Tom Arthus I am well aware of his capabilities.

All seven titles on this recording comes with some memory notes which suppose to constitute the way that listener would deal with this sonic universe presented here , but TBH I would live it for everyone to explore for himself as words tend to have a different meaning to all of us . So do sounds. And here sounds are challenging, just like the cubic spirit of Architecture is.

As I mentioned above the drumming here has just such character. It is a conversation of two voices on one hand . On the other they are like two monologues. But it still counts as a verbal alike sort of communication. Or at least an attempt of having one.  Sound is very spacious and keeps flying and changing directions. Lots of that is probably trafficked like that by Isambard who is a kind of director for this spectacle. But solo voices of the two gentleman have both its own distinctive tone.

The music is full of re-verbs, remixes and changing tempos. It is mostly very rich and incredibly engaging and absorbing. If you loose your spot you more likely fall into the noise. But you can climb back soon. As it also has some melodic side. More calm and relaxed when you can actually rest and regain your powers back. I tried different approaches with this multi-layered tissues and I must admit that it never brings you back to the same place.

 It all depends on the mood of course and it is also a little bit like a light trapped in the complex building. It meets edges and and smooth surfaces. It sometimes soaks silky gentle way inside of the passed by layers. Other times it bends sharp. It forges the shape on the resistive contour. Catapults on that or decays gently fading.

Needless to say it is very narrative too. Those like myself ,who’ve grown on Laurie Anderson , Brian Eno , Harry Parch or Pierre Dørge like will trace a lot of influence coming from these directions. Other might hear a spirit of Cage or Hovhaness in it too. And it will be equally accurate.

This music is not for everyone, but it is brilliant and those who dare to listen to it will be greatly rewarded. More of that they will be coming back for more. Just like I do.

Norwegian born and raised bassist – (composer now), as one can say watching his quartet long time NY resident. His Overseas cycle started some 14 years back and this package is the latest one carrying number V. I am not familiar with all of them hence won’t comment on continuity. Judging from what I am listening to here I must say it is very eclectic on the one side , but on he other it really holds on its own and definitely represents specific style. Nine tunes last about 40 minutes and there is no gaps between them to random play so I am taking an order as it comes from the score.

Drummer Kenny Wallessen is well known to me from the numerous Knighting Factory collaborations and I heard him playing everything from Klezmer Bernstein’s formations to Bill Frissell’s country or jazzy folk alike or John Lourie’s Noir syle. Tony Malaby equally is a multi tasked figure on the NY scene with long membership in Hayden’s LMO and Motion’s EBB. Guitarist Brandon Seabrook and keyboardist Jacob Sacks seems to be related to KFW once you try to search , but both of them are new musicians to me.

Overall aesthetic sounds to me a bit New Age like. I can trace a lot of the New Order like bits. Dark side of Joy Division is audible to me as well. So are guitar cannonades reminding Brian Ferry’s Roxy Music or Talking Heads . Echoes of early Brian Eno’s electronic experience comes to me as well , a bit like No Pussy Footing or My Life in the Bush Full of Ghosts. All that music I’ve grown on hence it is not difficult for me to trace it.

But those are just ingredients, and those might sound familiar when a similar dish is cooked. It does have however its own taste. Musical inspirations of Elvind who is pretty much in the same age as my self does not surprise me.

From starting I am on this Step I like this a lot. There is a lot of the NY sound in it Not Just Knighting Factory alike, but in general. This intellectual twist which is also so present in Myra Myelford music or numerous John Zorn formations.

Hold Everything is Malaby’s show off. He rides his sax with incredible emotional intensity riding on the back of New Model Army alike rhythm section.

Extraterrestrial Tantrum is the most ghostly one. It contains wonderful lament played on double bass on a marching beat. Counterpointing piano ,alone or unison with sax are completing this cold Nordic aesthetic. This is like a mix of spacious ECM alike sonic universe walking around with New York-ish intellectual posh-ness hand by hand.

Brapps, crazy cartoon like piece of music makes me thinking about the Yello, but guitar lines here keep arguing with rich sax lines in the way which is far from the Belgian duos predictability. Again minimalist bass Arcos which are shifting gears among the lines are counter-pointing an easiness of the rhythm in some distressing way.

I am leaving a few others for your own pleasure of recognition then . Is it worth it ? For God’s sake – Yes! Very much so, it intrigued me enough to make me getting back to this music on the regular basis and inspired to dig back in time and learn more about Overseas.

Elvind Opsvik – Overseas V on Soundcloud

Every-time I see Mathias Loibner’s name I am immediately alerted. My admiration for this unpredictable musician is equally strong as my love of his art. It was no difference then when I have seen and heard the new Brot & Sterne formation he is a part of. On top of that, again, being familiar with trumpeter Franz Hauzinger after his duo recording with Derek Bailey and multiple appearances with London Improvisers Orchestra I found myself lost in front of the drummer Peter Rosmanith. Funny enough he seems to be the oldest here being 61 than two other gents ,who are slightly over 50 or a bit before.A challenge like that however always makes me happy.

As all musicians here are well matured then the reminiscence of the title to German meaning of the Autumn word (Herbst) or to its ancient meaning leaning towards the word Harvesting somehow started to swivel inside my head once the music filled it. It is probably Mathias’s hurdy -gurdy part responsibility as this instrument and the way he plays it always draws you back in time, especially if you are familiar with medieval harmonies. Kleines Halali would be the most straight forward example with its Celtic folk like melodic lines.

On the other hand the trumpeter’s approach in this project is strongly supporting that too. He doesn’t overuse electronics more than it is needed playing most of the time beautifully nostalgic plain straight line with a long notes and reduced vibrato. That is what builds a simple beauty of the piece entitled Erlkonig. Marching drum with a deep re-verb is all that is needed to bring you to the tears.

Drummer’s voice is equally meaningful here. Whatever he plays of : Hang, drum kit or different percussion instruments or possibly an objects too, it all comes as a part of the unison either that usual rhythmic approach. Rhythm belongs to the drums of course and it is still present there but here percusionalias are rather playing an equal narrative role instead just counterpointing the framework. You see ? And how to avoid imaginative associations like those I pointed above.

Compositions are utter charming, soaked in emotions and richly illustrative. One of my favourite is a slow burning bolero Da Havara Van Arava composed by the trumpeter. Dancing around it hang and stringy accompaniment from hurdy – gurdy are both making it incredibly emotional.

Charm of hang gets us from the first notes of an opening collective Aufbrechen. It carries on a simple melody in the way that piano would, with both trumpet and h-g weaving a lovely tissue around the rhythmic core, supplying a wonderful drive from the first to the last note. But tit is Rosmanith’s own Schlafmohn which brings a pure beauty of hang into your soul. Matching trumpet lines are making it all angelic and taking everything to the roof.

Following Sissi’s Dream looses his dance character towards more hymnal approach delivered by synthesised trumpet lament. Jungle like percussion accompaniment delivers an incredible sense of space which is additionally enhanced by electronically supplied more ghostly landscapes.

There is even a room for standard too. On that occasion Zawinul’s In a Silent Way. If you are M.Davis fan you will be seriously surprised to hear how the piece opens up here and how it builds. The leitmotif becomes clearly recognisable but the percussive chaos with the trumpet noises are for this creation here like the sea foam for the Venus birth.

That’s how those three reapers are harvesting from their inner fertility using both, their tools and experience for the best.

BROT & STERNE TRAUMTON PR

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