Matthias Müller, trombone (1-4)
El Pricto, alto sax (1-3)
Vasco Trilla, drums (1-3)
Wojtek Kurek, drums (1-3)
Witold Oleszak, piano (4)
Jasper Stadhouders, amplified acoustic guitar and mandoline (4)
Recorded 10.10.2020 (1-3) and 11.10.2020 (4) by Bartek Olszewski, Degenerative 4th Spontaneous Music Festival, Dragon Social Club, Poznan
Mixed and mastered by Witold Oleszak
Spontaneous Music Tribune, Andrzej Nowak, October 1st, 2021:
The quartet set is divided into three parts on the disc. The beginning of the ceremony is created by one of the percussionists, who rustles a cloud of acoustic sounds. The brass instruments burble and hum. Crouching tigers and hidden dragons grow in power and sound like disintegrated air compressors. Everything seems to be trembling until the second drummer delivers his virgin phrases. Flow then thickens and takes the direction of compulsive free. The trombone and the saxophone carry on their permanent dialogue, while the two percussionists move into a metaphysical swing. The second episode opens with the trombone preparing an exceptional dish! The drums draw colorful streaks of sound, and the saxophone hisses, as if drunk in a fog. The acoustic moment explodes with beauty, but not expression. It gains density, but not pace. It tastes of acidic post-industrial, built up with brassy phrases and tarry deep drums. The final part of the set opens with a gong that sounds long. A trombone hums, glancing at the rest of the quartet, which falls ominously silent. Flat surfaces resonate, round ones tremble and rustle. A mystery of suspense, waiting for the voice of the silent ones. When finally everyone joins in the fun, an unfamiliar voice, reciting a text in an unfamiliar language, gives the quartet a shot of energy that brings them to a wall of spasmodic applause.
The three-man set rolls on the silver disc without any interruptions. From the get-go, the artists invite us into the great land of fake sounds. The one who makes percussion sounds at the entrance is ... the guitarist (although he has, for the time being, a mandolin in his hand), the one who kneads unidentified objects is the pianist, and only the trombonist seems to be phrasing in a way that could be associated with the sound of his working tool. The subsequent minutes of the set are created with a certain intriguing dissonance - the prepared piano and trombone croon almost industrially, while the guitar alternates with mandolin, playing post-gothic. After all, everything the artists generate correlates surprisingly well with each other, combines into imitative duets or compulsive shouts of the whole trio. The narration is brisk, rarely appearing near silence. However, it is sometimes delicate, almost neoclassical, and sometimes feisty and truly dangerous. In the second part of the set, a big boost of energy comes from the occasional duet of massive trombone and piano, which seeks dynamics. The return of the mandolin dampens the excitement, but seems to generate even more purely aesthetic impressions. We even reach a moment when the trombone simply sings and the mandolin phrases like a dancer in a Viennese classical operetta. In contrast, shortly afterwards the latter turns back into a percussion instrument. A solo incident of the trombone awaits us, and finally a final acceleration created by all the musicians. The flow is drawn to the top above all by the dancing trombone, the piano does its job here, and the guitarist - as a recontraction - charmingly plays with a rattling object. The story goes out at once, by the power of a non-existent command center.
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